@article {Jackson:2012:2040-3275:125,
title = "Splice: The postmodern Prometheus",
journal = "Horror Studies",
parent_itemid = "infobike://intellect/host",
publishercode ="intellect",
year = "2012",
volume = "3",
number = "1",
publication date ="2012-04-30T00:00:00",
pages = "125-138",
itemtype = "ARTICLE",
issn = "2040-3275",
eissn = "2040-3283",
url = "https://www.ingentaconnect.com/content/intellect/host/2012/00000003/00000001/art00008",
doi = "doi:10.1386/host.3.1.125_1",
keyword = "mad scientist, Frankenstein, Splice, genetic, science-fiction, corporation",
author = "Jackson, Kimberly",
abstract = "This article places Vincenzo Natalis 2010 film Splice in the tradition of modern mad scientist narratives like Mary Shelleys 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.",
}