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1981
Volume 16, Issue 1
  • ISSN: 2040-3275
  • E-ISSN: 2040-3283

Abstract

This article analyses Brandon Cronenberg’s films (2020) and (2012) as examples of transplantation horror, enabling a deeper exploration of the shared onto-epistemological concerns of both horror production and organ transplantation. The two films are preoccupied with anxieties surrounding biomedical technologies and the violation of ‘somatic wholeness’ – the concept of the body as a unified, self-contained entity. A four-part critical grid common to horror and transplantation – transgression, corporeality, movement and openness – is employed to examine popular biomedical representations of transplantation, particularly medical narratives concerning health and disease, control and its loss. In the sections devoted to and , the article focuses on themes of body/self image and visuality, the unsettling consequences of bodily transformations under late capitalism, and the limitations of contemporary horror in addressing deeper concerns about identity and corporeality.

Funding
This study was supported by the:
  • The IDUB New Ideas for Young Parents grant (Excellence Initiative – Research University [2020–26]) (Award PSP 501-D204-20-4004310)
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2025-04-14
2025-04-30
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