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El objetivo general de este estudio es doble. En primer lugar, se propone explorar las raices culturales del imaginario construido por el cine de terror, es decir, conectar algunas de sus formas narrativas, dramaticas e ideologicas, con la cultura visual precedente; y, a la vez, arrojar luz sobre un trayecto peculiar que recorre esta imagineria popular, configurado en torno a la relacion del deseo femenino con la figura del monstruo. Este estudio cultural toma distancia con respecto a la interpretacion dominante de esta narrativa, aquella que ha identificado la imagen de la mujer con el arquetipo de la mujer victima , para centrarse en el analisis de la representacion de la diferencia sexual desde la perspectiva del sujeto femenino y su identificacion con el arquetipo subversivo de la mujer investigadora . El inicio de este analisis se situa en la popular serie televisiva de ciencia ficcion Stranger Things  (M. y R. Duffer 2016-), sus esquemas dramaticos proponen una lectura retrospectiva de esta singular narrativa que se detiene en representantes de la mitologia clasica y relatos audiovisuales pertenecientes a diversos estilos del cine de terror como el clasicismo, la modernidad y la postmodernidad. Abstract: The general objective of this study is twofold. In the first place, it is proposed to explore the cultural roots of the imaginary constructed by the Horror Film, that is, to connect some of its narrative, dramatic and ideological forms, with the previous visual culture. And, at the same time, shed light on a peculiar path that runs through this popular imagery, and which is shaped around the relationship of female desire with the figure of the monster. This cultural study takes distance from the dominant interpretation of this narrative, that which has identified the image of the woman with the archetype of the female victim, to focus on the analysis of the representation of sexual difference from the perspective of the female subject. Its beginning is located in the popular science fiction serie Stranger Things  (2016-), its dramatic schemes propose a retrospective reading of this singular narrative that stops in representatives of the classic mythology and audiovisual stories pertaining to diverse styles of Horror Film such as classicism, modernity and postmodernity.

Reconociéndose como lo otro. La narrativa audiovisual del re-encuentro de la mujer con el monstruo