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There is a long tradition of representing the human species in monstrous states of being. These imaginary configurations continue to proliferate in actual scientific endeavour and in popular culture, especially science fi ct ion/tec h no- horror films. Monsters are boundary creatures that inhabit the interstice between the dead and undead, human and not human; they encapsulate ontological distinctions within one body. As such, they pose a threat to human integrity. Margrit Shildrick explains: Human monsters, then, both fulfil the necessary function of the binary opposite that confirms the normalcy and centrality of the accultured self, and at the same time threaten to disrupt that binary by being all too human. 1
Edward Scissorhands (Johnny Depp), the protagonist in Tim Burton's 1990 film of the same name, is one such manifestation. As 'made1 rather than 'born', Edward appears super-human. However, his machine-like body betrays him as 'all too human'; his ontology, like ours, is acutely entwined with technology and prosthetics. His steel scis- sorhands mark him as simultaneously human and not human, normal and pathological, exposing the 'fragility of the very taken-for grantedness of such catego- ries'. ? Since Edward's prosthetic handsarea dominant external feature of his body and signify a distinction between his otherwise human appearance and a machine, he reflects characters from science fiction/horror films who also have prosthetic hands, such as Darth Vader in Star Wars (George Lucas, 1977), the evil razor-fingered Freddy Krueger from A Nightmare on Elm Street (Wes Craven, 1984) and Wolverine in X-Men Bryan Singer, 2000). Although such characters are perceived as monstrous because they are part machine, the presence of prosthesis underscores an inherent human vulnerability, one we associate in real life with disability.
Although Edward isa machine, his androgynous features, ashen complexion and black leather clothing reflect subcultural goth couture and allude to the figure of the vampire. Like most vampires, Edward lives in a secluded mansion, is powerful in some respect and is potentially immortal. However, although Edward accidentally draws blood from himself and others because he cannot fully control his razor-sharp hands, he differs from vampires in that he does not need to feed off blood to survive. Edward is depicted as child-like, distant and asexual. In this respect he is also vampiric,...