{"title":"驯化的威胁：哈罗德·品特的《仆人》（1963）","authors":"A. Hall","doi":"10.5325/haropintrevi.7.1.0074","DOIUrl":null,"url":null,"abstract":"\n This article is an examination of Harold Pinter’s screenplay and the Robert Losey film, The Servant (1963). After reviewing the various interpretations offered for the work, such as its critique of colonialism and homophobia, the author argues for a more detailed examination of the character of Susan, Tony’s fiancé, in order to highlight the film’s interrogation of not only power but patriarchal power.","PeriodicalId":40140,"journal":{"name":"Harold Pinter Review-Essays on Contemporary Drama","volume":" ","pages":""},"PeriodicalIF":0.3000,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Domesticating Menace: Harold Pinter’s The Servant (1963)\",\"authors\":\"A. Hall\",\"doi\":\"10.5325/haropintrevi.7.1.0074\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n This article is an examination of Harold Pinter’s screenplay and the Robert Losey film, The Servant (1963). After reviewing the various interpretations offered for the work, such as its critique of colonialism and homophobia, the author argues for a more detailed examination of the character of Susan, Tony’s fiancé, in order to highlight the film’s interrogation of not only power but patriarchal power.\",\"PeriodicalId\":40140,\"journal\":{\"name\":\"Harold Pinter Review-Essays on Contemporary Drama\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2023-06-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Harold Pinter Review-Essays on Contemporary Drama\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5325/haropintrevi.7.1.0074\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"THEATER\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Harold Pinter Review-Essays on Contemporary Drama","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5325/haropintrevi.7.1.0074","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"THEATER","Score":null,"Total":0}
Domesticating Menace: Harold Pinter’s The Servant (1963)
This article is an examination of Harold Pinter’s screenplay and the Robert Losey film, The Servant (1963). After reviewing the various interpretations offered for the work, such as its critique of colonialism and homophobia, the author argues for a more detailed examination of the character of Susan, Tony’s fiancé, in order to highlight the film’s interrogation of not only power but patriarchal power.
求助内容：
应助结果提醒方式：
京公网安备 11010802042870号
