KuchisakeOnna:母性的恐怖与性别的化身

IF 1.5 Q1 CULTURAL STUDIES Journal for Cultural Research Pub Date : 2023-06-28 DOI:10.1080/14797585.2023.2228110
Leigh A. Wynn
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引用次数: 0

摘要

我漂亮吗?这是一个简单的问题,在它对女性化身的怪异表现中体现了美与俗。在这个作品中,我研究了2007年由白石浩司执导的日本恐怖片《刻痕:狭口女人》,以及它与怪物库佐佐-安娜在当今日本所表现的理想化的母亲角色的关系。通过对这部电影的批判性审视,我们看到了社区如何在媒体中建立社会秩序和女性的性别剧本,通过可怕的女性来延续霸权正常化的角色。这件作品着眼于日本都市传说Kuchisake-Onna,并将其与电影怪物《雕刻》进行比较,因为它投射了女性气质和母性的形式。通过与流行电影的交叉对照,我们可以看到媒体对女性性别的影响是如何在更广泛的背景下产生的。无论是在传说中还是在电影中,我们都看到女性是如何通过性自主来展现自己,来寻求被妖魔化的自我和主权的认同。
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Kuchisake-Onna: the horror of motherhood and gender embodiment
ABSTRACT Am I pretty? A simple question that epitomises both beauty and vulgarity in its monstrous representation of feminine embodiment. In this work, I look at the 2007 Japanese Horror film Carved: The Slit Mouth Woman directed by Koji Shiraishi and its relation to the way in which it the monster Kuchisake-Onna presents the idealised role of motherhood in Japan today. Through this critical examination of the film, we see how communities establish social order and gender scripts of the feminine within the media, perpetuating hegemonic normalised roles through the monstrous feminine. This work looks at the Japanese urban legend of Kuchisake-Onna and compares it with the movie monster Carved as it projects forms of femininity and motherhood. By cross-referencing the telling of the legend with popular cinema we can see how media influence takes on a broader context towards the gendering of woman. In both the legend and the film, we see how women seek the approval of self and sovereignty, which is demonised, by revealing herself through sexual autonomy.
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来源期刊
Journal for Cultural Research
Journal for Cultural Research CULTURAL STUDIES-
CiteScore
1.40
自引率
0.00%
发文量
23
期刊介绍: JouJournal for Cultural Research is an international journal, based in Lancaster University"s Institute for Cultural Research. It is interested in essays concerned with the conjuncture between culture and the many domains and practices in relation to which it is usually defined, including, for example, media, politics, technology, economics, society, art and the sacred. Culture is no longer, if it ever was, singular. It denotes a shifting multiplicity of signifying practices and value systems that provide a potentially infinite resource of academic critique, investigation and ethnographic or market research into cultural difference, cultural autonomy, cultural emancipation and the cultural aspects of power.
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