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.
Search Results
You are looking at 1 - 10 of 10 items for :
- "Aronofsky" x
- Refine by Access: All content x
- Refine by Content Type: All x
“Undoing” Gender
Nexus of Complicity and Acts of Subversion in The Piano Teacher and Black Swan
Neha Arora and Stephan Resch
Pain and the Cinesthetic Subject in Black Swan
Steen Ledet Christiansen
Skin tearing off a finger, knees buckling unnaturally, a nail file plunging through a cheek; Black Swan ( Darren Aronofsky, 2010 ) contains many scenes of extreme pain, a pain not solely felt by the body on screen but also manifested in the
Incarnation, Alienation, and Emancipation
A Sartrean Analysis of Filmic Violence
Daniel Sullivan
violence: Darren Aronofsky's The Wrestler (2008) and Steve McQueen's Hunger (2008). Although Volume 1 of the Critique has received substantial attention, the second (unfinished) volume remains understudied, and Sartre's philosophy of violence is often
In Sartre Studies International
- Published (Print):
- 01 Dec 2020
- Article Type:
- Research Article
- Pages:
- 1–21 (21 total)
Screened Women
Brian Bergen-Aurand
/animal body transformation in Black Swan ( Darren Aronofsky, 2010 ). As transformation, pain, and becoming are linked in the film, so are the embodied responses of filmgoers linked to the effects of those screened transitions through a new encounter with
Editorial
John Ireland and Constance Mui
conflicts incarnate broader forces of structural violence. Using two films, Darren Aronofsky's The Wrestler and Steve McQueen's Hunger , Sullivan examines these instances of incarnating violence in terms of their broader social effects, as either
Book Reviews
Robert Sinnerbrink and Matthew Cipa
. The final part of the book begins with María J. Ortiz’s chapter, which explores how “filmmakers can use the different aspects of mise-en-scène metaphorically in order to help create and maintain the mood of a film” (203). In analyzing Darren Aronofsky’s
An Interview with Kaveri Gopalakrishnan
Ann Miller and Kaveri Gopalakrishnan
then I read The Fountain , written by Darren Aronofsky and drawn by Kent Williams. The style was emotive, the figures skewed, and there was an abstraction in the artwork and story: talking about death, acceptance and parallel universes. It was full of
Editorial
Situating Screen Bodies
Brian Bergen-Aurand
number of articles on film sound, musicality, and embodied screen experience; examinations of films by Michael Haneke, Barbara Hammer, Darren Aronofsky, Lars von Trier, Jim Chuchu, and Naomi Kawase; and speculative articles on constructions of the
The Paris Opera Ballet Dancing Offstage
Work, Grace, and Race
Tessa Ashlin Nunn
as Ladislas Chollat's 2019 Let's Dance and Darren Aronofsky's 2011 thriller Black Swan , bolster stereotypes about (White) ballerinas as perfectionists and at times psychopaths. Media representations of the POB—born out of Louis XIV's Académie
In French Politics, Culture & Society
- Published (Print):
- 01 Jun 2022
- Article Type:
- Research Article
- Pages:
- 90–115 (26 total)
Book Reviews
Christopher Blake Evernden, Cynthia A. Freeland, Thomas Schatz, and Frank P. Tomasulo
” (154). Schubart posits that adulthood—represented here with “identity horror films” such as Black Swan (Darren Aronofsky, 2010), Martyrs (Pascal Laugier, 2008), and In My Skin (Marina de Van, 2002)—is akin to entering into a pitch-black hole where