Mapping the monstrous: women’s horrific bodies in French extreme film = Cartografiando lo monstruoso: los terroríficos cuerpos de las mujeres en el nuevo extremismo francés

Autores/as

  • Alicia Kozma Director of Indiana University Cinema

DOI:

https://doi.org/10.18002/ehf.v0i43.7039

Palabras clave:

women in horror, abject, extreme cinema = mujeres en el horror, abyecto, cine extremo

Agencias Financiadoras:

n/a

Resumen

New French extreme cinema combines existentialism with shock, hyper violence, and transgressions of women’s bodies. I contend such imagery is best understood as a representation of violence that enables enlightenment in and through the representation of women’s monstrosity and abjection. I examine this phenomenon through four films from New French Extremism’s inaugural cycle.

 

El Nuevo Extremismo Francés combina el existencialismo con el shock, la hiperviolencia y las transgresiones de los cuerpos de las mujeres. En este artículo argumento que dicho imaginario se entiende mejor como una representación de la violencia que permite acceder al conocimiento mediante la representación de la monstruosidad y el abyecto de la mujer. Examino este fenómeno a través de cuatro películas de la primera ola de dicho movimiento.

Descargas

Los datos de descargas todavía no están disponibles.

Métricas alternativas

Biografía del autor/a

Alicia Kozma, Director of Indiana University Cinema

Dr. Alicia Kozma combines a practical focus on media labor with critical inquiry to understand how media industries work, who works in them, and how the labor of media workers is constructed. Dr. Kozma has an additional focus on the construction of women's bodies in film, and gender and horror. She is the co-editor of ReFocus: The Films of Doris Wishman (Edinburgh UP 2021), the author of The Filmmaking of Stephanie Rothman: Radical Acts in Filmmaking (Mississippi UP 2022), and her most recent article, “Gendered Labor in the Neo-Art House," was published in Media Industries. Kozma is the Director of Indiana University Cinema and holds a Ph.D. in Communication and Media Studies from the Institute of Communication Research at the University of Illinois, Urbana-Champaign.

Citas

Araújo, S. (2001): “The Gothic-Grotesque of Haunted: Joyce Carol Oates’s Tales of

Abjection”, in K. Kutzbach and M. Mueller (eds.) The Abject of Desire: The Aestheticization of the Unaesthetic in Contemporary Literature and Culture, Amsterdam and New York, Rodopi: 99-106

Bjarucha, N. (2007): “The Bhibhitsa Rasa in Anglophone Indiana Cultural Discourse:

The Repugnant and Distasteful at the Level of Gender, Race, and Caste”, in K. Kutzbach and M. Mueller (eds.) The Abject of Desire: The Aestheticization of the Unaesthetic in Contemporary Literature and Culture, Amsterdam and New York, Rodopi: 69-88

Berressem, H. (2007): “On the Matter of Abjection”, in K. Kutzbach and M. Mueller

(eds.) The Abject of Desire: The Aestheticization of the Unaesthetic in Contemporary Literature and Culture, Amsterdam and New York, Rodopi: 19-49/

Beugnet, M. (2011): “The Wounded Screen”, in T. Horeck and T. Kendall (eds). The New

Extremism in Cinema: From France to Europe, Edinburgh, Edinburgh University Press: 29-42.

Beugnet, M. and Ezra E. (2010): “Traces of the Modern: An Alternative History of

French Cinema”, Studies in French Cinema. 10: 1, 11-38. DOI: 10.1386/sfc.10.1.11/1

Birks, C. (2015): “Body Problems: New extremism, Descartes and Jean-Luc Nancy”, New

Review of Film and Television Studies. 13:2131-148. DOI:10.1080/17400309.2015.1009355.

Crampton, T. (2005 November 7): “Behind the Furor, the Last Moments of Two

Youths”, The New York Times, https://www.nytimes.com/2005/11/07/world/europe/behind-the-furor-the-last-moments-of-two-youths.html.

Christians, C. (2005): “Ethics and Politics in Qualitative Research”, in N. K. Denzin and

Y. S. Lincoln(eds.) Handbook of Qualitative Research Third Edition, Thousand Oaks, Sage: 139-164.

Creed, B. (1999): “Horror and the Monstrous-Feminine: An Imaginary Abjection”, in S.

Thornham (ed.) Feminist Film Theory: A Reader, New York, New York University Press: 251-266.

Dickson, L. (2004): “Hook and Eye: Violence and the Captive Gaze”, Camera Obscura.

:19.2, 74-103.

Gross, E. (1990): “The Body of Signification”, In J. Fletcher and A. Benjamin (eds.)

Abjection, Melancholia, and Love: The Work of Julia Kristeva, London and New York, Routledge: 80-103.

Horeck, T. and Kendall, T. (2011): “Introduction”, in T. Horeck and T. Kendall (eds). The

New Extremism in Cinema: From France to Europe, Edinburgh, Edinburgh University Press: 1-17.

Inside/À l'intérieur. Directed by Alexandre Bustillo and Julien Maury, La Fabrique de

Films, 2007.

Kant, I. (2001): Critique of the Power of Judgment, P. Geyer and E. Matthews (trans.),

Cambridge, UK: Cambridge University Press.

Kristeva, J. (1982): Powers of Horror: An Essay on Abjection, L. S. Roudiez (trans.), New

York: Columbia University Press.

Kutzback, K. and Mueller, M. (2007): “Introduction.” in K. Kutzbach and M. Mueller

(eds.) The Abject of Desire: The Aestheticization of the Unaesthetic in Contemporary Literature and Culture, Amsterdam and New York, Rodopi: 7-18.

Martyrs. Directed by Pascal Laugier, Wild Bunch Distribution, 2008.

McGillvray, M. (2019): “‘It’ So Easy to Create a Victim’: Subverting Gender Stereotypes

in the New French Extremity,” in S. Holland, R. Shail, and S. Gerrard (eds). Gender and Contemporary Horror in Film, Bingley, United Kingdom: Emerald Publishing: 7-22.

McGowan, T. (2003): “Looking for the Gaze: Lacanian Film Theory and Its

Vicissitudes”, Cinema Journal. 42: 3, 27-47.

Palmer, P. (2007): “Queer Transformations: Renogotiating the Abjects in Contemporary

Anglo-American Lesbian Fiction”, in K. Kutzbach and M. Mueller (eds.) The Abject of Desire: The Aestheticization of the Unaesthetic in Contemporary Literature and Culture, Amsterdam and New York, Rodopi: 49-68.

Palmer, T. (2006): “Style and Sensation in the Contemporary French Cinema of the

Body”, Journal of Film and Video. 58: 3, 22-32.

Palmer, T. (2011): Brutal Intimacy: Analyzing Contemporary French Cinema, Connecticut:

Wesleyan University Press.

Shimakawa, K. (2002): National Abjection: The Asian American Body Onstage, Durham and

London: Duke University Press.

Seltzer, M. (1997)” “Wound Culture: Trauma in the Public Sphere”, October 80. 3-26.

Quandt, J. (February 2004): “Flesh & Blood: Sex and Violence in Recent French

Cinema”, Artforum

https://www.artforum.com/print/200402/flesh-blood-sex-and-violence-in-recent-french-cinema-6199.

West, A. (2016): Films of the New French Extremity. North Carolina: McFarland &

Company.

Descargas

Publicado

2021-12-20

Cómo citar

Kozma, A. (2021). Mapping the monstrous: women’s horrific bodies in French extreme film = Cartografiando lo monstruoso: los terroríficos cuerpos de las mujeres en el nuevo extremismo francés. Estudios Humanísticos. Filología, (43), 39–54. https://doi.org/10.18002/ehf.v0i43.7039

Número

Sección

Monográfico 2021: Aproximaciones a lo monstruoso y lo femenino: de lo “humano” a lo posthumano”