The feminine indistinction in Susanne Bier's cinema: The Brothers (2004), In a Better World (2010), Bird Box (2018)
Küçük Resim Yok
Tarih
2020
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Springer International Publishing
Erişim Hakkı
info:eu-repo/semantics/closedAccess
Özet
The chapter explores how the distinction between the inside and the outside and its different articulations (the local and the global, home and abroad, the present and the apocalyptic, the normal and the exceptional) are operationalized in a gendered fashion in Susanne Bier's films: The Brothers (2004), In a Better World (2010), and Bird Box (2018). The films subvert this distinction, giving important twists to the (im)possibilities of female subjectivity. While the 'outside' permeates the inside, society and nature, the present world and the apocalyptic, law and violence become indistinct categories. The chapter suggests that the apocalyptic paves the way to a messianic opening and the move from vision to touch marks the transition from the realm of the masculine symbolic order to the primal feminine ground zero. © The Author(s) 2020.
Açıklama
Anahtar Kelimeler
Bird Box (2018), Danish Cinema, Exception, Female Auteurs, Female Subjectivity, In A Better World (2010), Indistinction, Space, Susanne Bier, The Brothers (2004)
Kaynak
Female Agencies and Subjectivities in Film and Television
WoS Q Değeri
Scopus Q Değeri
N/A
