Body, Telephone, Voice: <i>Black Christmas</i> (1974) and Monstrous Cinema

Abstract This article investigates the role of telephone as both an engine suspense and a metaphorical double cinema in Black Christmas directed by Bob Clark (1974). Employing Michel Chion’s concept acousmatic voice, first explores creating narrative diegetic cohesion. It then how film implicitly establishes pattern resemblance between telephonic cinematic mediums centred on their capacities for diffusion disembodiment. Finally, meta-cinematic implications its preceding findings, arguing that fears anxieties associated with ultimately concern itself possible cultural impact. Although it attempts to enforce certain categories knowledge identity, engages cinema’s capacity subverting rather than enforcing ideology.