ABSTRACT
The chapter examines Jonathan Glazer’s Under the Skin (2013), a film loosely based on the 2000 debut novel of the same name by Michel Faber, from the perspective of beyond-ness, a term I define as detachment from generic or structural limitations and, at the same time, an unrestrained utilisation of intertextual and interpictorial elements to create a work that extends beyond fixed categories. Furthermore, in Glazer’s vision, it is also possible to view the female protagonist’s alterity as a case in point for beyond-ness, for she is a liminal being, neither human nor fully alien, her body being a site of resistance to explicit gendering, as well.
