Any: 2020 Num.: 15 (2020): Female Desire in Film: Theories, Methods, Case Studies
http://hdl.handle.net/10230/49269
2024-03-28T19:55:41ZWhen Woman Teams Up with Monster
http://hdl.handle.net/10230/49371
When Woman Teams Up with Monster; Cuando la mujer se alía con el monstruo
Antón Sánchez, Laura
How has the relationship between women and monsters influenced the cultural construction of femininity? In contemporary Hollywood audiovisuals, where selfawareness of the story takes on a special importance, particular emphasis is given to the examination of the way in which one of the most memorable horror movie scenes is presented: the one in which the woman meets the monster. The classic scream of horror has been replaced by a thrilling empathic relationship, plausible thanks to its imaginary link with the idea of otherness. This rapprochement, marked by language, has developed in tandem with a process of the humanization of the monster and its influence on the archetype of the hero, which has attracted greater attention inthe construction of the history of cinema. The main question posed by this narrative strategy, in which female empowerment derives from an alliance with the monster, is how this updated scene has contributed to the cultural reconstruction of the female identity. We aim to assess the influence of this metafictional discourse, triggered by the rhetorical device of parody, on shaping a true image of women.; ¿Cómo ha influido la relación de la mujer con el monstruo en la construcción cultural de la feminidad? En el audiovisual contemporáneo de Hollywood, donde la autoconsciencia del relato adquiere un especial relieve, destaca la revisión del tratamiento de una de las escenas más memorables del cine de terror, en la que seproduce el encuentro de la mujer con el monstruo. El clásico grito de horror ha sido sustituido por una emocionante relación de empatía, verosímil gracias a su vinculación imaginaria con la idea de la alteridad. Este reencuentro pautado por el lenguaje se ha desarrollado junto a un proceso de humanización del monstruo y su influencia en el arquetipo del héroe, que ha obtenido una mayor atención en la confección de la Historia del cine. El principal interrogante que abre esta estrategia narrativa en la que el empoderamiento femenino deriva de la alianza con el monstruo es de qué manera esta escena actualizada ha intervenido en la reconstrucción cultural de una identidad femenina. Nos interesa evaluar la influencia de este discurso metaficcional activado por la figura retórica de la parodia en la configuración de una imagen real de la mujer.
2020-01-01T00:00:00ZDesiring Domestic Workers in "The Maid" and "The Desert Bride"
http://hdl.handle.net/10230/49372
Desiring Domestic Workers in "The Maid" and "The Desert Bride"
Osborne, Elizabeth
This article analyzes the representation of feminine desires in two Southern Conefilms, The Maid (La nana, Sebastián Silva, Chile, 2009) and The Desert Bride (La novia del desierto, Valeria Pivato and Cecilia Atán, Argentina/Chile, 2017), that feature female protagonists who have worked as live-in domestic employees for the same families for over twenty years. Both films eschew traditional depictions of domestic workers as either servile or aggressive to instead present these women as desiring and desirable subjects, thereby questioning how desire and desirability are determined by dominant social norms of femininity predicated on privileges of age, class, and race. Following Rosi Braidotti’s work on nomadism, the article examines desire, as depicted in these films, as a fluid notion that emphasizes transformation and the process of becoming. Ultimately the desires that the protagonists experience in horizontal, affective relationships lead them to embrace newfound independence outside of employment.
2020-01-01T00:00:00ZTowards a ‘Perverse’ Brechtianism
http://hdl.handle.net/10230/49370
Towards a ‘Perverse’ Brechtianism
Harris, Jonathan
In 1990, Thomas Elsaesser wrote that Brechtian aesthetics are toothless in a hyperreal image culture. Thirty years on, this essay reworks the notion of distanciation by asking: what if we cannot decide whether the unnatural behavior of characters on screen is the product of Brechtian alienation or of the character’s own perversion, but rather is caused by both (and therefore neither)? To chart the transition between orthodox and “perverse” Brechtianisms, this essay compares a film by a director whose melodramas are often read as examples of Brechtian cinema, Douglas Sirk’s All That Heaven Allows (1955), and a film by a contemporary director whose work is often misread as the very thing it satirizes, Paul Verhoeven’s Elle (2016). This essay argues that, in the absence of a world “out there” to represent, the techniques of Brecht become perverse, a Sadean laboratory for the rehearsal of illicit forms of pleasure.
2020-01-01T00:00:00ZFemale Desire in Film
http://hdl.handle.net/10230/49369
Female Desire in Film; Deseos femeninos en el cine.
Bou, Núria; Pérez, Xavier
2020-01-01T00:00:00Z