The Tender Gaze: Compassionate Encounters on the German Screen, Page, and Stage ed. by Muriel Cormican and Jennifer Marston William (review)

IF 0.2 4区 社会学 Q4 AREA STUDIES German Studies Review Pub Date : 2022-05-01 DOI:10.1353/gsr.2022.0039
Maria Stehle
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Abstract

symbol of resistance against regimes of flexibility and conformity—powerfully paint a portrait of a society in which feminist values are hopelessly neutralized under neoliberalism. This feminist-queer approach is discernible throughout the book, although it is most consistently and convincingly instrumentalized in the later chapters. In her reading of the underresearched film Fremde Haut (2005) directed by Angelina Maccarone, Baer productively builds on Halberstam’s labeling of the lesbian migrant Fariba who “passes” as Siamak as a trans* character and the theoretical framework this affords her. With an insightful and original focus on indebtedness in the film—that is, the different debts owed from each character to another—Baer exposes how precarity defines every person in the film, creating hierarchies, and reinforcing economies of exchange, while acknowledging the specific ways that these debts are particularly burdensome for minoritized genders and ethnicities. Baer further links economies of debt with the economies of looking that operate in the film, where reciprocal gazes or the exchange of a glance do not represent mutuality or understanding but are instead sexist or objectifying. This illuminating section left me wondering where the gaze of the spectator is focused in this film. Are we complicit in these neoliberal economies of debt as symbolized by the gaze? Or might the idea of the trans* gaze as theorized by Halberstam open up unexplored potential for challenging gendered and racialized gazes? German Cinema in the Age of Neoliberalism will be of great interest to scholars of cinema and of German, not least because of its forceful recasting of German cinema as saturated in money, i.e., the economization of society and its effects permeate filmmaking at every level. In this book, Baer lends us the language to examine further the unique ways in which films have the capacity to simultaneously exist within, reflect on, and challenge the neoliberal status quo. Leila Mukhida, University of Cambridge
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《温柔的凝视:德国银幕、页面和舞台上富有同情心的相遇》,作者:穆里尔·科米肯和詹妮弗·马斯顿·威廉
这是对灵活和循规蹈矩的政权的抵抗的象征,有力地描绘了一个社会的肖像,在这个社会中,女权主义价值观在新自由主义下无可救药地被中和了。这种女权主义的酷儿方法贯穿全书,尽管它在后面的章节中被最一致和令人信服地工具化了。在阅读安吉莉娜·马卡隆执导的电影《弗雷德·豪特》(2005)时,贝尔卓有成效地借鉴了哈伯斯坦对女同性恋移民法里巴的标签,她把自己“冒充”成一个变性人,并以此为理论框架。贝尔对电影中每个角色对另一个角色所欠的不同债务进行了富有洞察力和独创性的关注,揭示了不稳定性如何定义了电影中的每个人,创造了等级制度,加强了交换经济,同时承认这些债务对少数性别和种族来说尤其沉重。贝尔进一步将债务经济与电影中运作的目光经济联系起来,其中相互的目光或交换目光并不代表相互或理解,而是性别歧视或客观化。这个有启发性的部分让我想知道观众的目光在这部电影中集中在哪里。我们是否与这些以凝视为象征的新自由主义债务经济共犯?或者,哈伯斯坦提出的跨性别凝视的理论是否为挑战性别和种族化的凝视开辟了未知的潜力?新自由主义时代的德国电影将引起电影和德语学者的极大兴趣,尤其是因为它将德国电影重新塑造为金钱饱和的电影,即社会的经济化及其影响渗透到各个层面的电影制作中。在这本书中,贝尔为我们提供了进一步研究电影的独特方式的语言,这些方式同时存在于新自由主义的现状中,反思和挑战。Leila Mukhida,剑桥大学
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