在当代西方/恐怖作品中塑造后女权主义女性

Q3 Arts and Humanities
Bryan Edward Ott
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引用次数: 0

摘要

在西部片与恐怖片的混合空间中,很少有创意作品涉及女性边缘化的问题,这表明有必要扩大其有限的框架,开发一种新的编剧方法,赋予女性视角以特权。当代流行的西部片和恐怖片混合文本,如《战斧之骨》(Bone Tomahawk,2015 年),坚持以男性为中心的传统美国神话,重新形成了支持父权的类型代码和惯例。以女性为中心的西部片/恐怖片混合叙事,如《女巫》(2015 年)、《硫磺石》(2016 年)、《莫霍克》(2017 年)和《猎物》(2022 年),将女性代表问题推向了较少探索的领域,但通过后女权主义视角进行解读时,并没有充分发挥类型混合和后女权主义编剧所产生的富有成效的工艺潜力,正如我将论证的那样。也就是说,以《莫霍克》为详细案例,我将分析后女权主义是如何成功地指导叙事和角色塑造,从而推动女性在混合类型中的表现。此外,本文还提出并探讨了一种 "书写 "强势女性角色的新方法:一种超越现有西部片/恐怖片故事的界限,扩大权力界限的方法。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Crafting post-feminist women in contemporary western/horror
The scarcity of creative work that engages the problematic issue of female marginalization in the western/horror hybrid space demonstrates the need to expand her limited framework and develop a new screenwriting approach that privileges the female perspective. Prevailing contemporary western and horror hybrid texts, such as and Bone Tomahawk (2015) adhere to traditional male-centred American myths that re-inform genre codes and conventions supporting patriarchal power. Female-centered western/horror hybrid narratives, such as The Witch (2015), Brimstone (2016), Mohawk (2017), and Prey (2022) move issues of female representation into lesser-explored territory, but, when read through a post-feminist lens, do not fully realize the fruitful craft potential that, as I will argue, genre hybridity and post-feminist screenwriting generates. That said, using Mohawk, as a detailed case study, I will analyze how post-feminism successfully informs the narrative and character construction, to advance female representation in mixed-genre form. In addition, this article proposes and explores a new approach to ‘writing’ strong female characters: one that expands the limits of power beyond the boundaries of the existing western/horror storytelling.
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来源期刊
Humanities, Arts and Social Sciences Studies
Humanities, Arts and Social Sciences Studies Arts and Humanities-Arts and Humanities (all)
CiteScore
0.40
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