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The invasion of the Cellular Dentata: The Skin Screen
the world’s smallest living skin flick
starring Barbara Creed & Lloyd Kaufman.

In Invasion of the Cellular Dentata, Feminist Film Theorist Barbara Creed stars as the Monstrous_Feminine.

In her work Creed challenges the notion that women are feared in Horror Movies NOT because they are castrated, but rather, because they castrate. As the Vagina Dentata, they become the Real Monster in the Horror Film. Creed deciphers the Monster by employing Kristina’s notion of the Abject. For Kristeva the corpse is the most decisive abject object. “It signifies one of the most basic forms of pollution – the body without a soul.” Does Bio-Art have a Soul?

“Why is it that male directors are interested in making films albeit horror films, about male castration?” asks Creed. In Invasion of the Cellular Dentata Creed attacks one such male director, Lloyd Kaufman, the GrandDaddy of Troma Films, infamous for their Sexually Gratuitous Shlock and Splatter! Kaufman retorts by pulling out one of his ‘TROMA E-Z Bake Special Effects Recipes for Boys & Girls’. When it comes to the Money Shot, Kaufman suggests that in case you’re “just shooting air out of your dick…” “…white hand lotion is usually an adequate semen substitute.”

The Living Screen: Monstrous Other has employed Early Film History, Film Theory, and particularly the work of Barbara Creed to approach Bio-Art in a new direction, and that is,

Bio-Art as Monstrous Other, as Freak Show.

In Taxonomy of an Etymological Monster, Jans Hauser argues that Bio-Art “manipulates biological materials at discrete levels and creates an emotional and cognitive experience for the audience.”

Welcome to the Experience of Bio-Kino, where you peer into the Living Screen, Peer into the Microscopic Monster, Peer into YourSelf!