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“Undoing” Gender

Nexus of Complicity and Acts of Subversion in The Piano Teacher and Black Swan

Neha Arora and Stephan Resch

Michael Haneke’s The Piano Teacher (2001) and Darren Aronofsky’s Black Swan (2010) are films about women directed by men. Both films unorthodoxly chart women artists’ struggle with the discipline imposed on them by the arts and by their live-in mothers. By portraying mothers as their daughters’ oppressors, both films disturb the naïve “women = victims and men = perpetrators” binary. Simultaneously, they deploy audiovisual violence to exhibit the violence of society’s gender and sexuality policy norms and use gender-coded romance narratives to subvert the same gender codes from within this gender discourse. Using Judith Butler’s and Michael Foucault’s theories, we argue that Haneke and Aronofsky “do” feminism unconventionally by exposing the nexus of women’s complicity with omnipresent societal power structures that safeguard gender norms. These films showcase women concurrently as victim-products and complicit partisans of socially constructed gender ideology to emphasize that this ideology can be destabilized only when women “do” their gender and sexuality differently through acts of subversion.

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Ted Nannicelli

electronic access only. In line with current practices at an increasing number of other scholarly journals, this new policy is reflective of the changing ways in which most readers access our content. It will also result in reduced costs to you, our readers

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Falling Apart Together

On Viewing Ali Atassi’s Our Terrible Country from Beirut

Ira Allen

early evolution of what became, especially following 2014–2015, a Russian-U.S.-Turkish-Saudi-Iranian-Qatari-etc. proxy war in Syria, see Geraint Hughes (2014) . On the contribution of U.S. foreign policy to the present age of proxy wars, to what Yassin

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Jane M. Kubiesa, Looi van Kessel, Frank Jacob, Robert Wood and Paul Gordon Kramer

-garde directors as tools to criticize other media or government policies (151). Chapter 5, “Pink Pictures,” contains photographs by Tsuda Ichiro, which are connected to shootings of Pink movies. Here the reader would have needed more specific information on the

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Editorial

Situating Screen Bodies

Brian Bergen-Aurand

statistical evidence of “some types of crime perpetrated against women in South Africa to provide an assessment of the trends in, and extent of [the] victimisation of women” (2), in order to “assist policy makers, law enforcement agencies and civil society to

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Akkadia Ford

a life insurance policy in order to secure funds for continuing the work of the Buyers Club. Reading Rayon as a character in a long line of socially proscribed Hollywood “fallen women,” with generic cues displaced onto the transgender body

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Catalin Brylla and Mette Kramer

global that international media reports and policy changes are easily traceable. This is the case with the activist documentary Blackfish (Gabriela Cowperthwaite, 2013), which arguably contributed to SeaWorld ending its orca breeding program and phasing

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Erin Ash

Films, 2006) . Figure 7 Joe Clark (Morgan Freeman) meets with parents, many of whom are angry about the policies he has implemented, in Lean on Me (Warner Bros., 1989) . Pretest A pretest was conducted before the experiment to ensure that the treatment

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What Does It Mean to Be an Ecological Filmmaker?

Knut Erik Jensen’s Work as Eco-Auteur

Mette Hjort

—including the making and watching of films—“does good” is an appealing and productive one, with implications for policy work, programming practices for screening sites outside the commercial sector, and even, in Finland, the sorts of prescriptions that doctors

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Handover Bodies in a Feminist Frame

Two Hong Kong Women Filmmakers’ Perspectives on Sex after 1997

Gina Marchetti

city” and a current product of the “one country, two systems” policy that will insure its semi-autonomous existence until 2047, Hong Kong serves as home for the women who embody a conflicted identity, one that is torn between the processes of