Whedon’s great glass elevator: space and intertextuality in The Cabin in the Woods

Research output: Contribution to ConferencePaper

Abstract

This paper explores Joss Whedon’s 2012 'meta-horror' The Cabin in the Woods in terms of conceptions of space. Via the theoretical approaches of Foucault and Kristeva, the film’s elevator sequence, and the multitude of monsters from the horror pantheon contained within, is used to conceptualise how the liminal spaces of the film function in explicating representations of horror and Whedon's 'signature intertextuality'.
Original languageEnglish
Pages1-16
Number of pages16
Publication statusPublished - 5 Dec 2012
EventAfter Buffy - University of London
Duration: 5 Dec 2012 → …

Conference

ConferenceAfter Buffy
Period5/12/12 → …

Fingerprint

Intertextuality
Wood
Liminal
Julia Kristeva
Signature
Pantheon
Conception

Keywords

  • Whedon's great glass elevator
  • Space
  • Intertextuality
  • Cabin in the Woods

Cite this

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abstract = "This paper explores Joss Whedon’s 2012 'meta-horror' The Cabin in the Woods in terms of conceptions of space. Via the theoretical approaches of Foucault and Kristeva, the film’s elevator sequence, and the multitude of monsters from the horror pantheon contained within, is used to conceptualise how the liminal spaces of the film function in explicating representations of horror and Whedon's 'signature intertextuality'.",
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Whedon’s great glass elevator: space and intertextuality in The Cabin in the Woods. / Starr, Mike.

2012. 1-16 Paper presented at After Buffy, .

Research output: Contribution to ConferencePaper

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