This article places Vincenzo Natali’s 2010 film Splice in the tradition of modern mad scientist narratives like Mary Shelley’s Frankenstein and in the more contemporary tradition of science-fiction films that portray evil mega-corporations whose products threaten to overrun
humanity and to dislodge cherished notions of human uniqueness. I argue that Splice offers a unique take on these established sub-genres, substituting the corporation for the rogue scientist, and corporate personhood for modern subjectivity. Unlike films like Blade Runner by Scott (1982),
the Terminator series by Cameron (1984, 1991), Mostow (2003), McG (2009) and Repo Men by Sapochnik (2010), in Splice there is no human victory in the end; instead, humanity must confront its evolution into a different type of being all together.
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