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<p>From a (post)Bionian psychoanalytic perspective, this article takes Julia Ducournau’s body-horror film <i>Titane</i> (2021) as a point of departure to examine the shifting intersubjective relationship between monster, monstrosity, and audience in contemporary horror cinema. As this examination shows, from the crumbling categories of <i>man</i> and <i>woman</i> to that of <i>the human</i> and <i>the monster</i>, Ducournau’s film sheds light on contemporary horror cinema’s changing sociocultural function, and on the psychocultural tissue connecting the subject, sociocultural <i>nameless dread</i>, and contemporary (social, political, cultural) crises—crises in which the very notion of <i>the human</i> is put into question.</p>

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Nameless dread, monsters without monstrosity, and the death of the human tissue in contemporary horror cinema: A (post)Bionian approach to Julia Ducournau’s Titane

  • 期刊论文

  • 发表日期：

    2026年5月5日

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  • Alvaro Lopez Navarro

摘要

From a (post)Bionian psychoanalytic perspective, this article takes Julia Ducournau’s body-horror film Titane (2021) as a point of departure to examine the shifting intersubjective relationship between monster, monstrosity, and audience in contemporary horror cinema. As this examination shows, from the crumbling categories of man and woman to that of the human and the monster, Ducournau’s film sheds light on contemporary horror cinema’s changing sociocultural function, and on the psychocultural tissue connecting the subject, sociocultural nameless dread, and contemporary (social, political, cultural) crises—crises in which the very notion of the human is put into question.