Someone's losing the plot': Female Madness Unravelled

The paper titled "Someone's Losing the Plot: Female Madness Unravelled" aims to dissect the historical and contemporary portrayal of the madwoman trope in horror cinema. While providing a comprehensive historical overview, the paper elucidates how women, both in societal contexts and within the horror genre, have been subjected to otherisation and monstrous depictions through their perceived madness. This phenomenon, rooted in the common diagnosis of hysteria, is explored across Victorian to modern times, revealing a reflection of societal biases and the inadequacies of medical practices.
Examining the intersectionality of the madwoman trope with various archetypes, ranging from enigmas ("Antichrist," 2008) and burdens ("Let’s Scare Jessica to Death," 1971) to obsessive women ("Misery," 1990) and queer women ("High Tension," 2003), the paper highlights the evolution of this portrayal. Transitioning to contemporary films, particularly those directed by women, the analysis showcases a departure from stereotypical depictions. Instead, these films offer nuanced portrayals, recognising the mad woman as an individual grappling with mental distress stemming from a traumatic past experience. The paper delves into the diverse reasons behind the characters' madness, exploring themes such as loneliness ("The Wind," 2018), grief ("The Babadook," 2014), ultimately focusing on trauma.
The contemporary madwoman is not portrayed as lost or overwhelmed but as someone actively reclaiming control, employing various means to do so. This exploration sheds light on a shift in cinematic representation, emphasising a more empathetic and authentic understanding of female madness in the horror genre.