The philosophers Gilles Deleuze and Felix Guattari chose the term Becoming-woman to signify our desire to continually and productively transform ourselves as well as an ever-evolving, contingent world. They picked this particular term because women's possibilities have not been completely
territorialized in an aesthetic or philosophical sense (even when they're codified in a bourgeois sense). Becoming-woman is thus radically different from most mainstream, filmic portrayals of both men and women's possibilities. In this article, I flesh out how the two female protagonists from
the horror films Nadja (1994) and The Eternal (1998), both written and directed by Michael Almereyda, self-create their own powers of Becoming-woman for transformative personal as well as cultural effects.
Horror Studies intends to serve the international academic community in the humanities and specifically those scholars interested in horror. Exclusively examining horror, this journal will provide interested professionals with an opportunity to read outstanding scholarship from a variety of disciplinary perspectives, including work conceived as interdisciplinary. By expanding the conversation to include specialists concerned with diverse historical periods, varied geography, and a wide variety of expressive media, this journal will inform and stimulate anyone interested in a wider and deeper understanding of horror