ABSTRACT
This chapter develops the discussion of pregnant women in horror films by considering the issues at stake in horror films about reproductive technologies – a thematic substrain refer to as reproductive technohorror. It discusses the mad science films to display a fascination with the creation of life outside of the maternal body. The living products of reproductive technologies challenge truth claims that refract through a particularly static type of culturally and historically intelligible body. Reproductive technologies and masculinity are also explicitly connected. Canadian science fiction horror film Splice considers how reproductive horror and mad science can be articulated in terms of maternity and a lack of normative feminine affect, and its conclusion offers a teratological meditation on the embodied nature of pregnancy and reproduction, that decentres human claims of authority over bodies and becomings. Donna Haraway notably defines the cyborg, or cybernetic organism, as both a social reality and a fictional creature.
