Monstrous Bodies, Monstrous Sex
Queering Alien Resurrection
in Gothic Studies
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The critical response to Alien Resurrection marked a departure from negative responses to Alien3. Oblivious to the films parting from the trilogys characterization as ‘simultaneously feminist and gynophobic’, some critics remained steadfast to that trope, insisting ‘Ripley is still the same person.’ Critics of the trilogy determined its sub-text to be concerned with gender and reproduction and went on to assert the same of Alien Resurrection. Where the trilogy offered a vision of Ripley,through a heterocentric lens, with blurred but visible divisions between monstrous and human, (and what distinguished them had to do with means of reproduction), AlienResurrection eradicates boundaries so it becomes impossible to determine whether ‘normal’ human or monster, can even exist in this world. The issue of sexuality becomes paramount to the issue of reproduction and gender. In the course of the trilogy, gender is made obsolete; Alien Resurrection finishes the job in rendering terms of sexual normalcy immaterial. The alien queen who has mutated into a parthenogenetically reproducing creature is described as ‘perfect’; what kind of meaning can that sort of reproduction or creature have in a heterocentric world? This world and its inhabitants are beyond heterosexuality, and perhaps beyond sexuality as we know it. Consequently, reconsidering AlienResurrection through a queer lens which inquires into sexuality offers a fuller and more fruitful reading than does one through gender or the biological labyrinth of reproduction.

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