Aesthetics are a neglected aspect of so many other domains—politics and economics and theology—but not here. What Moreno-Garcia doesis nudge it more toward the fore, exploring how the Beautiful Ones assert (or fail to assert) their rule over each other by way of aesthetic captivation.
The world of Want definitely feels like one that could be starting now, or perhaps already has: residents of cities in China and India are no strangers to literally life-shortening air pollution, and neither are members of marginalized communities living next to polluted sites worldwide.
In all the discussion of this horror, it’s important to recall that Women, Monstrosity and Horror Film is an academic text. There’s a difficulty in reviewing such texts for the lay reader—potential audiences are so different that the writing itself can (unintentionally) exclude. Reviewing as a lay reader, this came across very much as a text of two halves.
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