Mujeres furiosas. El monstruo femenino en el audiovisual de terror addresses the analysis of the representation of the female monster in the current context of the devaluation of the body, which is considered imperfect, uncertain and obsolete, to be controlled. The monsters represented in today's audiovisual horror - excessive, undisciplined, incorrect - negotiate the tension that exists between the body, power and femininity; a power that, compared to other times, is not based on seduction or sexual attractiveness, but on violence. Unlike the female-monster, postulated by Barbara Creed (1993), the current female monster does not reflect the fears of men over women, but rather the female directors and/or screenwriters, who have proliferated in audiovisual horror, reinscribe female bodily and personal experiences in the conventions of cinematic genre, creating a cinema that reflects female subjectivity from their fears, anxieties and desires.

The book goes through different types of monsters: the wolf-woman, the cannibal, the machine-woman, the zombie, the vampire, the witch and the monstrous mother, which we find in films such as Ginger Snaps (J. Fawcett, 2000), Crudo (J. Ducournau, 2016), Titane (J. Ducournau, 2021), A Girl Walks Home Alone at Night (L.A. Annipour, 2014), the third season of AHS, Coven, and The Babdook (J. Kent, 2014), among others. This essay undertakes her research through textual analysis, to which she adds different perspectives such as body studies and feminist phenomenology.