Abject Births and the Monstrous-Feminine in Álex de la Iglesia’s Witching and Bitching and 30 Coins
It is common to find maternal elements at the core of many recent Spanish horror narratives. These maternal discourses have been explored from a variety of approaches, from an excessive wish for motherhood to biological, failed and even monstrous motherhoods. This article focuses on the latter, anal...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2025 |
| País: | España |
| Institución: | Universidad de Sevilla (US) |
| Repositorio: | idUS. Depósito de Investigación de la Universidad de Sevilla |
| OAI Identifier: | oai:idus.us.es:11441/180468 |
| Acceso en línea: | https://hdl.handle.net/11441/180468 https://doi.org/10.31009/cc.2025.v13.i25.09 |
| Access Level: | acceso abierto |
| Palabra clave: | Spanish horror Motherhood Gynaehorror Monstrous births Spanish cinema Monstrous-feminine |
| Sumario: | It is common to find maternal elements at the core of many recent Spanish horror narratives. These maternal discourses have been explored from a variety of approaches, from an excessive wish for motherhood to biological, failed and even monstrous motherhoods. This article focuses on the latter, analysing how the genre conventions of pregnancy horror or gynaehorror can be applied in the study of the construction of the monstrous-feminine within the Spanish context. To this end, this research compares Álex de la Iglesia’s Witching and Bitching (Las brujas de Zugarramurdi, 2013), and the episode “Cobwebs” (“Telarañas”) from 30 Coins (30 monedas, 2020) and examines the director’s treatment of birth scenes and symbolic intra-uterine locations in his construction of female characters as monsters. |
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