Hunting for Easter Eggs in the Dardennes' Rosetta

IF 0.1 3区艺术学 0 FILM, RADIO, TELEVISION

CAMERA OBSCURA Pub Date : 2018-05-01 DOI:10.1215/02705346-4336850

N. Niessen

引用次数: 0

Abstract

Rosetta (dir. Jean-Pierre and Luc Dardenne, France/Belgium, 1999) teases the viewer into a spiritual mind game. At first viewing, the film appears to be about a young woman’s quest for a job. On very close analysis, though, Rosetta turns out to be encrypted with the holy spirit, creeping underneath the window of the trailer in which Rosetta lives with her alcoholic mother. The question is how much the critical posthumanist viewer feels at ease with that evangelical subtext. This essay argues that however self-reflexive Rosetta may show itself in its flirtation with Christian tropes, the film ultimately affirms the patriarchal binaries its secular Passion story otherwise challenges.

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在达登的罗塞塔寻找复活节彩蛋

罗塞塔(dir。Jean-Pierre and Luc Dardenne，法国/比利时，1999)将观众带入一场心灵游戏。乍一看，这部电影似乎是关于一个年轻女子寻找工作的故事。然而，经过仔细分析，罗塞塔被圣灵加密了，圣灵爬到了罗塞塔和她酗酒的母亲住的拖车的窗户下面。问题是，批判性的后人文主义观众在多大程度上对福音派的潜台词感到放心。本文认为，无论罗塞塔在与基督教比喻的调情中表现得多么自我反思，这部电影最终肯定了其世俗的《激情》故事所挑战的父权二元对立。

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

CAMERA OBSCURA FILM, RADIO, TELEVISION-

CiteScore

0.30

自引率

0.00%

发文量

期刊介绍： Since its inception, Camera Obscura has devoted itself to providing innovative feminist perspectives on film, television, and visual media. It consistently combines excellence in scholarship with imaginative presentation and a willingness to lead media studies in new directions. The journal has developed a reputation for introducing emerging writers into the field. Its debates, essays, interviews, and summary pieces encompass a spectrum of media practices, including avant-garde, alternative, fringe, international, and mainstream. Camera Obscura continues to redefine its original statement of purpose. While remaining faithful to its feminist focus, the journal also explores feminist work in relation to race studies, postcolonial studies, and queer studies.