From la Strada to the Hours : Suffering and Sovereign Women in the Movies

• Autore: Pramataroff-Hamburger Vivian
• Pubblicazione: Berlin, Heidelberg : , : Springer Berlin / Heidelberg, , 2024; ©2024
• Edizione: 1st ed.
• Descrizione fisica: 1 online resource (381 pages)
• Altri autori: HamburgerAndreas
• Nota di contenuto: Intro -- Contents -- Part I: "We Are All of Us Stars, and We Deserve to Twinkle." Self-presentations as Objects of Desire -- 1: Sunset Boulevard: Diva as Demon -- Introduction -- Film Plot -- Background -- How Is the Feminine Staged in this Film? -- Psychological Character Analysis: Narcissism vs. Successful Adaptation -- Staging of the Feminine in Relation to the Soft Male: Regressive Fear and Desire vs. Progression -- Further Considerations: Self-Referentiality of the Film and its Effect on Today's Viewers -- Film Details -- References -- 2: Breakfast at Tiffany's, Style Icon as a Lifelong Lie -- Introduction -- Film Plot -- Background to the Film -- Parallel Stories -- How Is the Feminine Portrayed in Film? -- Social Images of Women -- Call Girl and Woman -- Further Reflections, the 1950s, and Today -- Why We Still Love This Mendacious/Whitewashing Film? -- Film Details -- References -- 3: Le Mépris (Jean-Luc Godard 1963) and Its Story of Cinema: A 'Fabric of Quotations' -- Film Details -- References -- 4: Look Behind the Veil: What Is Actually 'Obscure' About Luis Buñuel's film, That Obscure Object of Desire? (Cet obscur objet du désir, F, ES 1977) -- Plot -- The Background -- Obscure Femininity? -- Laura Mulvey and the Visual Pleasure of Narrative Cinema -- The Fetish -- Conclusion -- Film Details -- References -- Part II: Strong Feelings. Women as Persistent Subjects -- 5: Poetry and Reality. Devastated Landscapes of the Soul: La Strada (The Road, I 1954) -- Introduction -- Film Plot -- Background -- Image of Femininity -- Indeed -- Further Thoughts -- Gelsomina as Creature of Nature, Zampanò in the Circle, Matto Aloft -- The Sacred -- Film Details -- References -- 6: Woman as a Black Bird: The Presentation of Femininity in Alfred Hitchcock's The Birds (US 1963) -- Approach -- The Plot -- Background -- Literary Model and Special Features. ; Visual Reminiscences of the Two Previous Films -- Hitchcock's Staging of Femininity in The Birds -- Opening Credits -- Melanie in the Mirror of Her Encounters -- Melanie as a Black Bird -- The Unfolding of the Relationship Dynamic Between Mitch and Melanie -- Once Again the Black Bird Melanie: The Abyss of Desire -- Positivity and Scepticism: The Openness of the Final Scene -- Further Considerations -- Hitchcock and Tippi Hedren -- Hitchcock's Image of Women -- Film Details -- References -- 7: Trauma, Depression and Transgenerational Suicidal Tendency: Psychoanalytical Notes on the Film Die Wand [The Wall] (A, D 2012) -- Introduction -- Film Plot -- Background -- The Wall as an Opportunity for Self-Determined Female Identity? -- Transformations of Self and Identity in the Shadow of Traumatic Experiences -- Trauma Processing, Self and Identity: An Attempt at Self-Healing? -- Traumatic Loss and Shock -- The Decision to Continue Living and the Function of the Inner Glass Wall -- Approaching Mourning for What Is Lost -- The Collapse of the Ego Ideal (The Revenge of the Superego) and Depressive Breakdown -- Further Considerations -- Rediscovered by Researchers of Women's Literature, the Second Women's Movement and Feminism -- Film Adaptation of a Cult Book for Civilisation Sceptics and Prophets of Doom (Nuclear Apocalypse) -- Film Details -- References -- 8: Resilient Femininity in Three Billboards Outside Ebbing, Missouri -- Introduction -- Part I. Analysis of the Spectatorship -- Part II. Metamorphoses of the Feminine -- The Female Images in the Film -- Images of Mothers in the Film -- Psychoanalysis, Femininity and Resilience -- Femininity -- The Resilient Ego: Traumatism Versus Activism -- Conclusion: Love Begets Love -- Film Details -- References -- Part III: Mothers and Daughters -- 9: Why Mothers Are Immortal (All About My Mother) -- Plot. ; Background -- Femininity -- Opposites -- Sham Existence -- Creating a World in Which There Are Only Mothers -- Transplantation and Primal Scene -- Inner Objects -- A Redemption Fantasy -- Film Details -- 10: Understanding Bridget Jones. The Staging of Post-Feminist Female Identity in Bridget Jones's Diary (GB, IRL, F 2001) -- Introduction -- Film Plot -- Background -- The Staging of the Feminine or: De(con)struction of Beauty and Comedy -- Bridget Jones: A Childlike Heroine of Everyday Life -- Post-Feminism, Irony and Sexism -- Bridget and Her Relationships -- The Mother-Daughter Relationship -- Bridget and the Men -- Bridget and Daniel Cleaver -- Bridget and Mark Darcy -- Female Body and Ego Ideal -- Conclusion -- Film Details -- References -- 11: From La Strada to the Hours: Suffering or Sovereign Femininity in Feature Films-Ida and Her Mothers -- Introduction -- Film Plot -- Context -- How Is Femininity Constructed? -- The Church: The Omnipotent, Primal Mother -- Ruja, the Lost Mother -- Wanda, the Found Mother -- The Daughter's Separation -- About the Film -- References -- Part IV: Women's Suffering. Illness and Mystery in the Film -- 12: Black Swan -- Introduction -- Storyline -- Background -- How Is the Feminine Staged Within the Film? -- Fairy Tales, Myths, Archetypes -- Nina, the Conformist Daughter -- Erica, The Phallic Mother -- Nina in Search of a Father -- Lily, the Much Sought-After Rival -- Lily, the Temptress -- Nina, the Black Swan -- Black Swan: A Feminist Film? -- Ballet as a Representative of a Patriarchal Society -- The Abject -- The Ideal of Femininity in Ballet -- Film Details -- References -- 13: 'You Freud, Me Jane'?-Images of Womanhood and Love in Alfred Hitchcock's Marnie (US 1964) -- Introduction -- Film Plot -- Background -- The Image of Women in Marnie -- Processes of Cultivating Love -- Film Details -- References. ; 14: Thrill and Suffering-Misery (US 1990) -- Introduction -- Film Plot -- A Happy Rescue Can Also Have Unhappy Consequences -- Stick to Your Own Tried and Tested Rules -- Reading Is More than Reading -- Paul's Purge -- Background: Contexts and Subtexts -- The Etymology of Misery -- The Staging of Annie Wilkes' Femininity -- Annie Wilkes' Relational Mode of Idolising Terror -- Paul Sheldon's Struggle for his Identity as an Author -- What Could It Be? -- Misery: The Narrative of the Thriller Tells a Familiar Life Story -- Further Considerations -- Film Details -- References -- 15: 'You Are the Only Person Who Can Give Me Back Myself': The Passions of Self-image and Ego Distortion-Der Liebeswunsch [The Love Wish] (D 2006) -- Introduction -- Film Plot -- Background -- Excursus on Film Aesthetics: 'Sound of the Surf' -- The Beginning: Forgetting to Forget -- Staging the Feminine in Film -- 'Simple or Complicated' -- Anja -- Anja and Leonhard -- Anja and Jan -- Anja as a Mother -- Marlene -- The Ending: 'If I Could Save Time in a Bottle' -- Outlook: The Jumping Kettle -- Film Details -- References -- Internet Sources -- Part V: String Pullers. When Women Control Events -- 16: Alfred Hitchcock's Rebecca: The Replacement Wife -- Plot -- Background -- Femininity in Rebecca -- Further considerations -- Film Details -- References -- 17: Women's Truth Witness for the Prosecution, US 1958 -- Introduction -- Film Plot -- Background -- From Criticism of Justice to the Human Dilemma -- A Look at Femininity in Film -- A Film About Lying -- Is the Camera Lying, Too? -- A Film About Injury -- A Film About Revenge -- Further Reflections on Film Effects and Femininity -- Film Details -- References -- 18: I'm Not Your Nice Girl-Gone Girl (US 2014) -- Introduction -- Background -- Film Plot -- Methodological Considerations -- How Is the Feminine Staged in Film?. ; Amazing Amy -- Cool Girl -- The Female Corpse -- A Short Phase of Independence and Freedom: The Problem of Female Autonomy -- The Infinitely Giving Mother -- The Desire to Be Seen -- The Aseptic Woman -- The Female Monster -- The Pregnant Wife -- The Fundamental Inaccessibility of the Other -- Conclusion -- Film Details -- References -- 19: Gateway to the Night-The Night Porter (Il Portiere di Notte, I 1974) -- Introduction -- Film Plot -- Background -- Staging the Feminine in Film -- Further Considerations -- Film Details -- References -- 20: In Search of the Lost Mother-The Piano (NZ, AU, F 1993) -- Introduction -- Film Plot -- Background -- How Is the Feminine Staged in Film? -- Further Considerations -- Is the Emancipation of the Female Voice Still Necessary in the Twenty-First Century? -- From the Perverse Bargain to Gaining a Capacity for Love -- Stewart's Admission of his Failure -- Flora's Ways of Dealing with Abandonment -- Film Details -- Part VI: Revolt Against the Camera. The Uprising Against "Male Gaze" -- 21: A Woman in Limbo-Lost in Translation (US 2003) -- Introduction -- Plot -- Background -- How Is the Feminine Staged in Film? -- Further Considerations -- Transitional Object and Reciprocal Use -- Audience Alienation -- Film Details -- References -- 22: Pursuing Emptiness: Obsession and (Im) Potence in Kathryn Bigelow's Blue Steel (US 1990) -- Introduction -- Film Plot -- How Is the Feminine Staged in Film? -- Further Considerations -- Parallels to Zero Dark Thirty -- The Transitional Space and the Phallic -- Film Details -- References -- Part VII: Artifacts and Fantasized Women -- 23: S.O.S.: Spike Jonze's Her as a Film About Object Relations and Grief -- Introduction -- Plot Summary -- Reception -- How Is Femininity Staged in the Film? -- Further Considerations: Assisted Mourning -- Scuppered with an OS -- SO. ; Letters to the Object.
• Titolo autorizzato: From la Strada to the Hours
• ISBN: 9783662687895; 9783662687888
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Lingua di pubblicazione: Inglese
• Record Nr.: 9910865275903321
• Lo trovi qui: Univ. Federico II