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The Company of Wolves$
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James Gracey

Print publication date: 2017

Print ISBN-13: 9781911325314

Published to Liverpool Scholarship Online: February 2021

DOI: 10.3828/liverpool/9781911325314.001.0001

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PRINTED FROM LIVERPOOL SCHOLARSHIP ONLINE (www.liverpool.universitypressscholarship.com). (c) Copyright Liverpool University Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 02 July 2022

‘A She-Wolf Came…’

‘A She-Wolf Came…’

(p.101) Chapter Six: ‘A She-Wolf Came…’
The Company of Wolves

James Gracey

Liverpool University Press

This chapter explains how werewolves have traditionally been a masculinised beast associated with cultural concepts of masculinity. It explores Neil Jordan's The Company of Wolves as an atypical werewolf film that uses the figure of the lycanthrope to explore notions of adult sexuality from a distinctly feminine vantage point. It also mentions Angela Carter, who described The Company of Wolves as a menstrual film in which the wolves stand for the girl's own sexuality, rather than rough, hairy male sexuality. The chapter discusses female werewolves that have been used as the vehicle to discuss various 'human' anxieties for many centuries. It looks at Rosaleen's encounter and seduction of the huntsman as a significant and influential moment in the history of horror cinema that challenges the traditional representation of the werewolf that is inherently masculine.

Keywords:   The Company of Wolves, Neil Jordan, masculinised beast, werewolf film, Angela Carter, menstrual film, masculinity

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