Pet or Monster?: The Epoché of Animality in Stephen King’s Films

This study aims to examine human–animal relations in modern culture through the reified meaning of the monster. Within this framework, three of Stephen King’s film adaptations — Cujo (1983), Cat’s Eye (1985), and Pet Sematary (1989) — are analyzed by interpreting their animal figures as transfer objects. In the Freudian sense, the transfer object is the medium through which repressed drives and anxieties are displaced and expressed in symbolic form; in these films, animals do not represent the primary source of fear but rather function as vessels for its cultural and affective residues. By placing horror not in the supernatural or the extraordinary but in the ordinary and familiar, King generates terror through everyday pets that act as catalysts. At the same time, the locus of fear emerges from interpersonal relations. Such animal figures are discussed as permanently bound entities that bridge the realms of nature and culture, biological production and cultural meaning. The first part of the study will discuss the dual function of fear—species resemblance and cultural exclusion—by drawing on the evolutionary approach and Darwin’s theory of fear, Freud’s theory of the unconscious, and René Girard’s theory of sacrifice, which emphasizes the role of the monster–victim relation in social cohesion. The second part undertakes a phenomenological analysis of how these animal figures trigger fear and return it into the social world. In contrast to dominant representations that externalize fear into the supernatural or the unnatural, the study demonstrates the possibility of a distinctly “human” representation of fear.