{"title":"玛丽亚·沃尔什-女性团结作为未被商业化的价值:露西·比奇的《食人族》和蕾哈娜·扎曼的《一些女人,其他女人和所有的苦人》","authors":"Maria Walsh","doi":"10.5040/9781350124295.ch-012","DOIUrl":null,"url":null,"abstract":"This book chapter offers a close reading of work by British artists Lucy Beech and Rehana Zaman. It argues that their work speak in different ways to the material conditions of women’s immaterial labour in neoliberal capitalism. Introducing their work in a context in which ‘[o]ne of the hallmarks of our neoliberal age is precisely the casting of every human endeavour and activity in entrepreneurial terms’ (Rottenberg 2014), I explore what the groups of female ‘labourers’ that appear in their films might tell us about desire, needs and resistance to being subsumed under capitalist exploitation. I argues that while female empowerment is co-opted by neoliberalism, Beech’s and Zaman’s work oscillate between exposing exploitative commodified values and an uncommodified therapeutic pleasure in group experience.","PeriodicalId":208331,"journal":{"name":"Women Artists, Feminism and the Moving Image","volume":"3 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2019-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Maria Walsh – Female solidarity as uncommodified value: Lucy Beech’s Cannibals and Rehana Zaman’s Some Women, Other Women and all the Bittermen\",\"authors\":\"Maria Walsh\",\"doi\":\"10.5040/9781350124295.ch-012\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This book chapter offers a close reading of work by British artists Lucy Beech and Rehana Zaman. It argues that their work speak in different ways to the material conditions of women’s immaterial labour in neoliberal capitalism. Introducing their work in a context in which ‘[o]ne of the hallmarks of our neoliberal age is precisely the casting of every human endeavour and activity in entrepreneurial terms’ (Rottenberg 2014), I explore what the groups of female ‘labourers’ that appear in their films might tell us about desire, needs and resistance to being subsumed under capitalist exploitation. I argues that while female empowerment is co-opted by neoliberalism, Beech’s and Zaman’s work oscillate between exposing exploitative commodified values and an uncommodified therapeutic pleasure in group experience.\",\"PeriodicalId\":208331,\"journal\":{\"name\":\"Women Artists, Feminism and the Moving Image\",\"volume\":\"3 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2019-08-22\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Women Artists, Feminism and the Moving Image\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5040/9781350124295.ch-012\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Women Artists, Feminism and the Moving Image","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5040/9781350124295.ch-012","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Maria Walsh – Female solidarity as uncommodified value: Lucy Beech’s Cannibals and Rehana Zaman’s Some Women, Other Women and all the Bittermen
This book chapter offers a close reading of work by British artists Lucy Beech and Rehana Zaman. It argues that their work speak in different ways to the material conditions of women’s immaterial labour in neoliberal capitalism. Introducing their work in a context in which ‘[o]ne of the hallmarks of our neoliberal age is precisely the casting of every human endeavour and activity in entrepreneurial terms’ (Rottenberg 2014), I explore what the groups of female ‘labourers’ that appear in their films might tell us about desire, needs and resistance to being subsumed under capitalist exploitation. I argues that while female empowerment is co-opted by neoliberalism, Beech’s and Zaman’s work oscillate between exposing exploitative commodified values and an uncommodified therapeutic pleasure in group experience.