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.AbstractSpanish cinema of the late dictatorship and the transition often suggested an uncomfortable perception of the mother figure, portraying mothers as dangerously castrating, as seminally theorized by Marsha Kinder in her book Blood Cinema (1993). In the contemporary era, the figure has reappeared in a new format: Spanish horror. The upsurge in Spanish cinema dating from 1995 has included a strong contribution from the horror genre to the extent that Spanish horror and horror-thriller hybrids have achieved international distribution. This chapter considers gender issues in the contemporary genre, in particular the increasing emphasis on women as subjects and not objectified victims, following Carol Clover’s theorization of the Final Girl (Clover 1992) as the survivor of the horror film.

But earlier conceptualizations of women have not been forgotten. The chapter takes as a case study the recent international success El orfanato (The Orphanage, Bayona 2007) to suggest that horror heroines can also be horror monsters: the monstrous mothers not only of horror theorist Barbara Creed (1993) but also as posited by Kinder as mentioned above. Horror and fantasy become specifically female constructs (since the truth behind the horror turns out to be more mundane, associated with the masculine).

Female subjectivity now means that, instead of men investigating the mystery of women, women now investigate themselves.

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The examples and perspective in this section may not represent a of the subject. You may, discuss the issue on the, or, as appropriate. ( September 2018) The Orphanage was received very well by American critics on its original release. The film has an 87% approval rating on based on 176 reviews, with an average rating of 7.4/10. The critical consensus reads, 'Deeply unnerving and surprisingly poignant, The Orphanage is an atmospheric, beautifully crafted haunted house horror film that earns scares with a minimum of blood.'

At, the film has received an score of 74 out of 100, based on 33 reviews from mainstream critics, indicating 'generally favorable reviews'.Critics praised the film for its lack of cheap scares. Film critic for the approved of the film claiming it to be 'deliberately aimed at viewers with developed attention spans. It lingers to create atmosphere, a sense of place, a sympathy with the characters, instead of rushing into cheap thrills'. Bill Goodykoontz of the echoed this statement noting, 'Bayona never lets The Orphanage descend into cheap horror. The scares here are expertly done and, placed in the context of Laura's state of mind, well-earned, perhaps even explainable (or not).'

Peter Howell of the wrote, 'The year's best horror picture is also one of the simplest. The Orphanage makes little if any use of digital tricks to present its numerous terrors.' The casting of Chaplin and Rueda was praised while the role of Carlos was called dull. Goodykoontz noted the role of Carlos, saying 'Cayo is rather pedestrian as Carlos, but he isn't given that much to do'. Of the shared this opinion saying, 'Rueda has a great pair of peepers for this assignment. When she looks one way and then the other, while skulking through the hallways of her childhood home, every nerve-wracking whatwasthat? Registers, and how.

Cayo is pretty dull by comparison, but Chaplin certainly is not.' Liam Lacey of praised Rueda stating, 'The strongest appeal of the film is the brooding, intense performance by Spanish actress, Belen Rueda.' A negative review came from Lacey of, who felt that at 'the film's core, it seems intended as a sympathetic drama of a bereaved mother, who may have slipped into madness. What's even more disquieting is the persistent undercurrent of exploitation – the mixture of grief and jarring shock effects and the pitiless use of a disfigured child as a source of horror.' Of claimed the film to be a 'diverting, overwrought ghost story' and that it 'relies on basic and durable horror movie techniques'. Jack Matthews of found the ending of the film to be one of the worst of the season, but praised the acting of.The Orphanage listed as one of the top 10 best films of 2007 by several critics, including Lawrence Toppman of the, Marc Doyle of and Tasha Robinson of. Anthony Lane of included the film on his top ten list of 2008.In the early 2010s, conducted a poll with several authors, directors, actors and critics who have worked within the horror genre to vote for their top horror films.

The Orphanage placed at number 76 on their top 100 list. Soundtrack El Orfanatoby.