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Feminist, Postmodern, Violent: Postwar Film Noir Romance, and the Undoing of Truth and Subjectivity

Dijana Jelača   ORCID icon orcid.org/0000-0002-9132-7601 ; St. John’s University Queens, NY

Puni tekst: engleski, pdf (748 KB) str. 309-332 preuzimanja: 405* citiraj
APA 6th Edition
Jelača, D. (2015). Feminist, Postmodern, Violent: Postwar Film Noir Romance, and the Undoing of Truth and Subjectivity. Umjetnost riječi, 59 (3-4), 309-332. Preuzeto s https://hrcak.srce.hr/161834
MLA 8th Edition
Jelača, Dijana. "Feminist, Postmodern, Violent: Postwar Film Noir Romance, and the Undoing of Truth and Subjectivity." Umjetnost riječi, vol. 59, br. 3-4, 2015, str. 309-332. https://hrcak.srce.hr/161834. Citirano 20.11.2019.
Chicago 17th Edition
Jelača, Dijana. "Feminist, Postmodern, Violent: Postwar Film Noir Romance, and the Undoing of Truth and Subjectivity." Umjetnost riječi 59, br. 3-4 (2015): 309-332. https://hrcak.srce.hr/161834
Harvard
Jelača, D. (2015). 'Feminist, Postmodern, Violent: Postwar Film Noir Romance, and the Undoing of Truth and Subjectivity', Umjetnost riječi, 59(3-4), str. 309-332. Preuzeto s: https://hrcak.srce.hr/161834 (Datum pristupa: 20.11.2019.)
Vancouver
Jelača D. Feminist, Postmodern, Violent: Postwar Film Noir Romance, and the Undoing of Truth and Subjectivity. Umjetnost riječi [Internet]. 2015 [pristupljeno 20.11.2019.];59(3-4):309-332. Dostupno na: https://hrcak.srce.hr/161834
IEEE
D. Jelača, "Feminist, Postmodern, Violent: Postwar Film Noir Romance, and the Undoing of Truth and Subjectivity", Umjetnost riječi, vol.59, br. 3-4, str. 309-332, 2015. [Online]. Dostupno na: https://hrcak.srce.hr/161834. [Citirano: 20.11.2019.]

Sažetak
This essay asks what happens to hegemonic discourses around gender, identity and subjectivity when the stable frame of reference within which they typically operate shatters under the pressure of cinematic and narrative oversaturation. Through a close analysis of Nicholas Ray’s film noir In a Lonely Place (1950), the article traces the representational undermining of post-WWII Western masculinity, which is revealed to be in a state of perpetual crisis. It shows how sexual difference is depicted as a key element informing the notion of agency, but with a surprising result: instead of the typical hierarchy of classic Hollywood films—in which the woman on the screen occupies a passive to-be-looked-at position (Mulvey 1975)—In a Lonely Place complicates the formula by giving its female protagonist more agency over the narrative than its male anti-hero, thereby marking the film as a provocative feminist text. In later parts of the essay, I focus on the film’s noir features such as narrative loose ends and plot inconsistencies, and what they reveal about the inherent violence of normative forms of storytelling, both cinematic and otherwise.

Ključne riječi
film noir; Hollywood; cinema; gender; masculinity; femininity; feminism; postmodernism; violence

Hrčak ID: 161834

URI
https://hrcak.srce.hr/161834

Posjeta: 528 *