Horror, bodily agency and Peggy Ahwesh’s Nocturne (1998)

IF 0.1 0 FILM, RADIO, TELEVISION

Short Film Studies Pub Date : 2023-09-01 DOI:10.1386/sfs_00098_1

Erica Tortolani

引用次数: 0

Abstract

This article analyses the 1998 short film Nocturne, directed by artist Peggy Ahwesh in one of her most earnest engagements with the horror genre. It demonstrates the ways in which Nocturne uses visual and aural horrific elements to show how the gendered female body is socioculturally constructed. Importantly, its horrific elements open up the possibility for women to reclaim corporeal agency, a feat otherwise absent in the very source material that Ahwesh borrows from in her film. The female body is presented in Nocturne as uninhibitedly able to move, touch, explore, desire and, yes, kill, as it navigates through, and eventually destroys, the intricate systems of power keeping it in check. After exploring Ahwesh’s larger body of work, the article considers how Nocturne assigns the so-called corporeal weight to its female bodies on-screen, through horrific elements and, to a lesser extent, the woman-as-animal metaphor.

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恐怖、身体机构与佩吉-阿赫韦什的《夜曲》（1998 年）

本文分析了 1998 年由艺术家佩吉-阿赫韦什（Peggy Ahwesh）执导的短片《夜曲》（Nocturne），这是她对恐怖类型片最认真的一次尝试。它展示了《Nocturne》如何利用视觉和听觉上的恐怖元素来展示性别化的女性身体是如何被社会文化所建构的。重要的是，《夜曲》中的恐怖元素为女性重新获得身体代理权提供了可能性，而阿赫韦什在影片中借鉴的素材恰恰不具备这种功能。在《夜曲》中，女性的身体可以无拘无束地移动、触摸、探索、欲望，甚至杀戮，它可以穿越并最终摧毁控制它的错综复杂的权力系统。在探讨了阿赫韦什更多的作品之后，文章探讨了《夜曲》如何通过恐怖元素以及在较小程度上通过将女性视为动物的隐喻，在屏幕上赋予女性身体所谓的肉体重量。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Short Film Studies FILM, RADIO, TELEVISION-

CiteScore

0.20

自引率

0.00%

发文量

期刊介绍： The main purposes of SFS are: To stimulate ongoing research on individual short films as a basis for a better understanding of the art form To provide a flow of cutting-edge teaching materials that can be used in courses in which short films are either studied or produced, at film schools or universities To offer fresh inspiration to filmmakers and other professionals working with short films in connection with festivals, national film institutes, regional film centres, etc. While the principal focus is on the short fiction film, other classic forms – such as the short documentary, the short experimental film and the short animation film – are also covered from time to time. In each issue, two productions are singled out for comprehensive presentation and close study. For each film, the reader will find production data, an interview with the director, a shot-by-shot breakdown of the film with a still illustrating every shot, a number of peer-reviewed articles that illuminate the film from a variety of perspectives and a link enabling subscribers to view the film.