Breihan, this was because the film itself was reactionary: "The Exorcist seems like a transgressive work of art, but it's built on reverence of tradition. It has trust in institutions" he writes. "[It] almost sneers at the politics of the ’60s and at the way Hollywood embraced them." In the film's most overtly political scenes, those showing the shooting of the film Chris is making, she dismisses its take on student protest as "the Walt Disney version of the Ho Chi Minh story". In the only scene she is shown shooting, her character, a faculty member at the fictional college, grabs a megaphone and counsels a group of protesters against taking over the building and shutting down classes, telling them, "if you want change, you have to work within the system." Like Biskind, many feminist critics have taken particular note of the film's focus on the female body as the site of horror in the film. "When her body changes, Regan becomes someone else; someone sexual, whose desire is a dark visitor, hollowing her out and corrupting her from within" writes Jude Ellison Doyle in Dead Blondes and Bad Mothers: Monstrosity, Patriarchy and the Fear of Female Power. "To become a woman is to become the worst thing on Earth, the enemy of all that is pure or holy." Australian film studies professor Barbara Creed, in her seminal 1993 work The Monstrous-Feminine, which inaugurated psychoanalytic feminist film theory, counters the prevailing feminist take on The Exorcist by insisting that Pazuzu is female and thus the possession of Regan is itself a feminist act, exposing "the inability of the male order to control the woman whose perversity is expressed through her rebellious body", as she navigates an incestuous desire for her mother. Ilkka Mäyrä argues that this reading "to my mind, almost completely ignores the most important aspects of the particular conflicts that empower the demonic in this work", since it seems to be based largely on a female actress voicing the demon, ignores the novel entirely as well as indications of its maleness in the film, such as the clearly phallic Pazuzu figure shown both in Iraq and Regan's bedroom, along with images of ailing masculinity such as Merrin's frailty. "The demonic in The Exorcist can not be reduced to the conflict between sexes, even if the female body and sexuality (both male and female) play special roles in it."