American filmmaker Jane Schoenbrun has challenged the legacy of Mary Shelley's Frankenstein, labeling the classic tale "super transphobic." The non-binary director made these remarks during an interview regarding their upcoming project ahead of the Cannes Film Festival.

The "constructed body" and the transphobic lens

Jane Schoenbrun, an American filmmaker, argues that the core concept of Frankenstein—a creature built from disparate parts—functions as a transphobic trope. According to a report from The Hollywood Reporter, Schoenbrun suggests that the portrayal of a "constructed body" creates a problematic framework for how identity and physical form are perceived.

Schoenbrun's perspective suggests that the "monster" is not merely a character, but a vessel for societal anxieties regarding bodily autonomy and gendered identity. By focusing on a body that is "assembled" rather than innate, the narrative may inadvertently mirror historical prejudices against transgender individuals whose physical forms do not align with traditional expectations.

A cinematic lineage of Norman Bates and Buffalo Bill

The critique extends beyond Mary Shelley’s 200-year-old novel to include a broader history of horror cinema. Schoenbrun noted that there is a specific "lineage" of characters, such as Norman Bates or Buffalo Bill, who embody the "trans monster" archetype. As reported by The Hollywood Reporter, there is a complicated relationship between these films and trans audiences.

While these figures may offer a sense of familiarity to trans viewers—providing a rare, if distorted, reflection of their own experiences—Schoenbrun contends that these representations are ultimately harmful. The filmmaker argues that these movies use the "otherness" of the body to inicte fear, rather than to foster genuine understanding or positive representation.

Satire and slasher themes in Camp Miasma

These comments were shared in the context of Schoenbrun's latest creative endeavor, a satirical romantic drama slasher titled Teenage Sex and Death at Camp Miasma. The filmmaker is using this new project to engage with the very genre conventions that have historically marginalized certain identities.

The upcoming Cannes Film Festival appearance marks a significant moment for Schoenbrun to bring these discussions of identity and genre to a global stage. By utilizing satire, the director appears to be positioning their work as a direct response to the problematic tropes found in classic horror.

The unanswered question of reclaiming the "trans monster" trope

The tension between visibility and vilification remains a central, unanswered question for the horror community. While Schoenbrun identifies a "complicated" relationship where trans people find comfort in these films, the source does not address how filmmakers might move toward positive representation rather than just critiquing the negative.

Furthermore, the perspective of literary historians or defenders of the original Frankenstein text is absent from this specific critique.. This leaevs it unclear whether the "constructed body" is an inevitable element of the gothic genre or a trope that can be actively unmade by modern creators.