少女时代的光辉与地形政治

Fiona Handyside
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引用次数: 1

摘要

法国最近制作了一系列由女性导演执导的电影,与女孩们亲密而富有同情心地接触。这一章集中在两部电影上,它们的名字吸引了人们对少女时代的感受和经历的兴趣:17个女孩(戴尔芬和穆丽尔·库林,2011)和十七个女孩(csamline Sciamma, 2014)。导演们,通过外景拍摄,他们当地的地理知识,和非专业演员从电影的取景地,把他们的少女时代的探索到非常具体的地点。这种地理特殊性产生并评价了一种对待女孩和女孩文化的独特方法,而这种方法通常以一种比较同质的方式加以理解。此外,这种对地理的密切关注产生了对少女时代的地形描述,其中垂直和水平,光和影,塑造了女孩对权力和代理的不同和独特的体验。
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Girlhood Luminosities and Topographical Politics
France has recently produced a series of films by female auteurs that offer a close and sympathetic engagement with girls. This chapter concentrates on two films whose titles draw attention to their interest in the feelings and experiences of girlhood: 17 Filles (Delphine and Muriel Coulin, 2011) and Bande de filles (Céline Sciamma, 2014). The directors, through location shooting, their local geographical knowledge, and non-professional actors drawn from the area where the films are set, place their explorations of girlhood into highly specific locations. Such geographical specificity produces and evaluates a distinctive approach towards girls and girl culture, which is usually understood in a more homogenous way. Furthermore, this close attention to geography produces a topographical account of girlhood in which verticality and horizontality, and light and shade, shape varied and distinctive experiences of power and agency for girls.
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