Pub Date : 2020-12-14DOI: 10.31009/cc.2020.v8.i15.02
Arnau Vilaró Moncasí
The films of Chantal Akerman explore one of the key issues in the representation of female desire: the debate about the mechanisms of a language which, according to Laura Mulvey, is based on a male gaze founded on scopophilia, voyeurism, and fetishism. This article uses the film La captive (2000) and the desire between its two protagonists, Ariane and Simon, to reconsider the link established in feminist theory between language, the gaze, and desire. My hypothesis is that the confinement of Akerman’s female protagonist, expressed through the two dimensions of submission and intimacy, takes an approach to female desire that constitutes an alternative to the forms of the gaze associated with the male tradition of representation. This approach engages in a close dialogue with the concept of desire posited by Emmanuel Levinas, whose ideas had a huge influence on Akerman’s understanding of how to film the Other, as well as the relationship between the image and its observer.
{"title":"A Bedroom Story","authors":"Arnau Vilaró Moncasí","doi":"10.31009/cc.2020.v8.i15.02","DOIUrl":"https://doi.org/10.31009/cc.2020.v8.i15.02","url":null,"abstract":"The films of Chantal Akerman explore one of the key issues in the representation of female desire: the debate about the mechanisms of a language which, according to Laura Mulvey, is based on a male gaze founded on scopophilia, voyeurism, and fetishism. This article uses the film La captive (2000) and the desire between its two protagonists, Ariane and Simon, to reconsider the link established in feminist theory between language, the gaze, and desire. My hypothesis is that the confinement of Akerman’s female protagonist, expressed through the two dimensions of submission and intimacy, takes an approach to female desire that constitutes an alternative to the forms of the gaze associated with the male tradition of representation. This approach engages in a close dialogue with the concept of desire posited by Emmanuel Levinas, whose ideas had a huge influence on Akerman’s understanding of how to film the Other, as well as the relationship between the image and its observer.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129172383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-14DOI: 10.31009/cc.2020.v8.i15.07
Jonathan Harris
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.
{"title":"Towards a ‘Perverse’ Brechtianism","authors":"Jonathan Harris","doi":"10.31009/cc.2020.v8.i15.07","DOIUrl":"https://doi.org/10.31009/cc.2020.v8.i15.07","url":null,"abstract":"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.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"133 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122891480","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-14DOI: 10.31009/10.31009/cc.2020.v8.i15.06
Agustín Rugiero Bader
This article presents an analysis of how the male hegemony in the “Global North” has conceptualized the witch as an image of female alterity. My approach is informed by studies by Julia Kristeva, Teresa de Lauretis, Hélène Cixous, and Barbara Creed. Drawing on these works, I explore how the witch actively desires and uses the power of her desire to draw the male subject toward the “place where meaning collapses” (Agamben 2007). The study is supported by a prior analysis of the concepts of witchcraft, perversion, and abjection. After establishing the conceptual framework, the study sample is divided into three filmic categories: the witch in society; the witch in the socialization process; and the witch as perverse resistance. My argument is that the witch, as a female figure inherently associated with sexuality, crosses the thresholds of eroticism and perversion, and possesses the power to challenge binary structures from within.
本文分析了“全球北方”的男性霸权是如何将女巫概念化为女性另类形象的。我的方法借鉴了Julia Kristeva、Teresa de Lauretis、hendrix Cixous和Barbara Creed的研究。通过这些作品，我探索了女巫如何积极地渴望并利用她的欲望的力量将男性主体吸引到“意义崩溃的地方”(Agamben 2007)。这项研究得到了巫术、变态和堕落等概念的先前分析的支持。在建立概念框架后，研究样本被分为三个电影类别:社会中的女巫;社会化过程中的女巫;而女巫则是邪恶的反抗者。我的观点是，女巫作为一个天生与性相关的女性形象，跨越了色情和变态的门槛，拥有从内部挑战二元结构的力量。
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Pub Date : 2020-12-14DOI: 10.31009/cc.2020.v8.i15.05
Laura Antón Sánchez
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.
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Pub Date : 2020-12-14DOI: 10.31009/cc.2020.v8.i15.04
E. Osborne
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.
{"title":"Desiring Domestic Workers in \"The Maid\" and \"The Desert Bride\"","authors":"E. Osborne","doi":"10.31009/cc.2020.v8.i15.04","DOIUrl":"https://doi.org/10.31009/cc.2020.v8.i15.04","url":null,"abstract":"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.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133048050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-14DOI: 10.31009/cc.2020.v8.i15.03
Judith Rifeser
An exploration of feminine desire through the lens of Luce Irigaray’s caress is afforded here through the feminist film-philosophical analysis of Claudia Llosa’s The Milk of Sorrow (La teta asustada, 2009) and Women Without Men (Zanan-e Bedun-e Mardan, 2009), by Shirin Neshat. Drawing on key scholarship (Watkins 2000; Bainbridge 2008; Bolton [2011] 2015; Quinlivan [2012] 2014), this article offers a novel contribution through its emphasis on the Irigarayan caress. Despite important limitations and silences in Irigaray’s work (Rifeser 2020; Ingram 2008; Bloodsworth-Lugo 2007; Deutscher 2003; Jones, 1981), here the usefulness of Irigaray’s caress is discussed. An exploration of the narrative, formal and aesthetic strategies of Llosa’s and Neshat’s feature films attune the viewer to the embodied, lived experiences of the main women characters, sothat we can envision the Irigarayan caress and the lived experience of feminine desire as woman with oneself, as well as the desire for the other.
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Pub Date : 2020-05-22DOI: 10.31009/cc.2020.v8.i14.02
R. Peters
This paper considers five episodes from Charlie Brooker’s dystopian science fiction anthology series, Black Mirror (2011–present). The episodes selected are those that—as argued in this text—depict the role of technology as replacing that of religion. To build this claim, they will be compared to one another, to the Christian biblical concepts they mirror, and to historical events related to theological debates within Christianity.Throughout the history of Western civilization, Christian belief has played an important role in shaping cultural ideologies. For that reason, it could be argued that Christian ideas continue to penetrate our cultural narratives today, despite declining self-recognition in the West as religious or spiritual. Concepts of the afterlife, omniscience, vengeance, ostracism and eternal suffering spring up in some of the least expectedplaces within popular culture today. This paper argues that Black Mirror depicts the materialization of these concepts through imagined worlds, thus signaling the modern-day specters of Christianity.
{"title":"When Your Motherboard Replaces the Pearly Gates: Black Mirror and the Technology of Today and Tomorrow","authors":"R. Peters","doi":"10.31009/cc.2020.v8.i14.02","DOIUrl":"https://doi.org/10.31009/cc.2020.v8.i14.02","url":null,"abstract":"This paper considers five episodes from Charlie Brooker’s dystopian science fiction anthology series, Black Mirror (2011–present). The episodes selected are those that—as argued in this text—depict the role of technology as replacing that of religion. To build this claim, they will be compared to one another, to the Christian biblical concepts they mirror, and to historical events related to theological debates within Christianity.Throughout the history of Western civilization, Christian belief has played an important role in shaping cultural ideologies. For that reason, it could be argued that Christian ideas continue to penetrate our cultural narratives today, despite declining self-recognition in the West as religious or spiritual. Concepts of the afterlife, omniscience, vengeance, ostracism and eternal suffering spring up in some of the least expectedplaces within popular culture today. This paper argues that Black Mirror depicts the materialization of these concepts through imagined worlds, thus signaling the modern-day specters of Christianity.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132317891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-22DOI: 10.31009/cc.2020.v8.i14.05
Ling Zhang
How has the development of surveillance technology and its normalized intervention into our social structures and daily lives impact our imagination of the future? Does the “total view” of the intense yet impassive gaze of surveillance cameras, combined with the mediated intimacy of social media videos, foreshadow deeper social alienation or the fulfillment of individual desire? In order to address such questions, I take the Chinese artist Xu Bing and his team’s film Dragonfly Eyes (Qingting zhi yan, 2017) and its surrounding media culture as a case study to demonstrate how surveillance footage and various modes of cinematic ontology, digital realism, and temporality work in a contemporary socio-political-medial context. Composed by Xu and a group of collaborators, Dragonfly Eyes is the only existing feature-length fiction film constructed completely from surveillance footage. As a highly reflexive film, Dragonfly epitomizes and embodies the precarious potentials of the digital future of capitalism, both invigorating and bleak, expressive and corrupt.
{"title":"Foreshadowing the Future of Capitalism: Surveillance Technology and Digital Realism in Xu Bing’s Dragonfly Eyes","authors":"Ling Zhang","doi":"10.31009/cc.2020.v8.i14.05","DOIUrl":"https://doi.org/10.31009/cc.2020.v8.i14.05","url":null,"abstract":"How has the development of surveillance technology and its normalized intervention into our social structures and daily lives impact our imagination of the future? Does the “total view” of the intense yet impassive gaze of surveillance cameras, combined with the mediated intimacy of social media videos, foreshadow deeper social alienation or the fulfillment of individual desire? In order to address such questions, I take the Chinese artist Xu Bing and his team’s film Dragonfly Eyes (Qingting zhi yan, 2017) and its surrounding media culture as a case study to demonstrate how surveillance footage and various modes of cinematic ontology, digital realism, and temporality work in a contemporary socio-political-medial context. Composed by Xu and a group of collaborators, Dragonfly Eyes is the only existing feature-length fiction film constructed completely from surveillance footage. As a highly reflexive film, Dragonfly epitomizes and embodies the precarious potentials of the digital future of capitalism, both invigorating and bleak, expressive and corrupt.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130439381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-22DOI: 10.31009/cc.2020.v8.i14.03
Joseph Walderzak
This article considers The Dark Knight Rises (Christopher Nolan, 2012) in order to argue through Fredric Jameson that postmodern aspects of a text are capable of obfuscating, if not altogether obliterating, any Marxist polemics. The first portion engages with Jameson’s The Political Unconscious, particularly his emphasis on class struggle and identification of ideologemes which manifest in the text. The subsequent section considers The Dark Knight Rises as a postmodern text through Jameson’s concepts of pastiche and nostalgia. Moreover, The Dark Knight Rises is contextualizedwithin the recent spate of class-oriented cinema. Collectively, the goal is to identify a trend within such films of establishing a correlation between capitalism and inequality, ideologemes and postmodernism. The final result is an increasingly impressive group of genre-spanning films which address contemporary inequality in its multifarious forms, but which treat these issues more so as narrative devices than tenable critiques of the sites of oppression.
{"title":"Blaming the Poor: The False Allure of the Capitalist Critique in the Age of Postmodernism","authors":"Joseph Walderzak","doi":"10.31009/cc.2020.v8.i14.03","DOIUrl":"https://doi.org/10.31009/cc.2020.v8.i14.03","url":null,"abstract":"This article considers The Dark Knight Rises (Christopher Nolan, 2012) in order to argue through Fredric Jameson that postmodern aspects of a text are capable of obfuscating, if not altogether obliterating, any Marxist polemics. The first portion engages with Jameson’s The Political Unconscious, particularly his emphasis on class struggle and identification of ideologemes which manifest in the text. The subsequent section considers The Dark Knight Rises as a postmodern text through Jameson’s concepts of pastiche and nostalgia. Moreover, The Dark Knight Rises is contextualizedwithin the recent spate of class-oriented cinema. Collectively, the goal is to identify a trend within such films of establishing a correlation between capitalism and inequality, ideologemes and postmodernism. The final result is an increasingly impressive group of genre-spanning films which address contemporary inequality in its multifarious forms, but which treat these issues more so as narrative devices than tenable critiques of the sites of oppression.","PeriodicalId":414949,"journal":{"name":"Comparative Cinema","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131332823","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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