Russell uses theories of masquerade to investigate queer typification and the possible reclamation of anti-reproductivity as a sexual ethic. It considers the film’s camp portrayal of Club Kid culture through the historical slippage of homosexuality and horror, suggesting that its moral relativism reveals aporia not only within mainstream endorsement of consumerist plenitude, but also within cinematic principles of identification.
"Queerly Monstrous: Reading Party Monster as a Postmodern Horror Film,"
Kino: The Western Undergraduate Journal of Film Studies: Vol. 5
, Article 4.
Available at: http://ir.lib.uwo.ca/kino/vol5/iss1/4