Abstract

At first glance, the Netflix series Stranger Things places itself within the category of monstrous feminine narratives by introducing preteen Eleven as the series’ human monster. The show pits her against literal monsters which, like adolescents, exist in a physically transformative and liminal space. However, while the series initially appears to reinforce the stereotype of young females as borderland monsters who defy categorization, the show ultimately undermines this same convention. Instead, it presents Eleven as a complete person who exhibits intelligence, individuality, and power in a manner more complex and modern than earlier filmic embodiments of monstrous adolescence and femininity. Eleven represents a new generation; while the monsters can still be viewed as illustrative of adolescence, Eleven rises above the characterizations of previous horror texts, successfully defying the containment often placed on girls. Viewers are shown that rather than letting society dictate their actions, girls can perform with agency and ability. Instead of serving only as objects of desire (or angst) for boys, girls can be the ones to save the day.

摘要

乍一看，Netflix 系列Stranger Things通过将青春期前的 11 引入作为该系列的人类怪物，将自己置于可怕的女性叙事类别中。该节目让她与字面上的怪物对抗，这些怪物就像青少年一样，存在于身体上的变革和限制空间中。然而，虽然该系列最初似乎强化了年轻女性作为无视分类的边境怪物的刻板印象，但该节目最终破坏了同样的惯例。取而代之的是，它把十一人描绘成一个完整的人，以一种比早期的电影化的可怕青春期和女性气质更复杂和现代的方式展现智慧、个性和力量。十一代表新一代；虽然怪物仍然可以被视为青春期的例证，但十一超越了以前恐怖文本的特征，成功地反抗了经常施加在女孩身上的收容措施。观众们看到，与其让社会支配她们的行为，女孩们可以通过代理和能力来表演。女孩不仅可以成为男孩的欲望（或焦虑）对象，还可以成为拯救世界的对象。