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The violent act of femininity: Sexua...

Harper, Mark C.

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The violent act of femininity: Sexual politics, narrative futility, and gender performativity in the blood melodramas of Francois Truffaut.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The violent act of femininity: Sexual politics, narrative futility, and gender performativity in the blood melodramas of Francois Truffaut./
作者:	Harper, Mark C.
面頁冊數:	394 p.
附註:	Adviser: Joan Hawkins.
Contained By:	Dissertation Abstracts International67-03A.
標題:	Cinema. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3210040
ISBN:	9780542588327

The violent act of femininity: Sexual politics, narrative futility, and gender performativity in the blood melodramas of Francois Truffaut.
Harper, Mark C.

The violent act of femininity: Sexual politics, narrative futility, and gender performativity in the blood melodramas of Francois Truffaut. - 394 p.

Adviser: Joan Hawkins.

Thesis (Ph.D.)--Indiana University, 2006.

The main objective of this study is to explore the signification of femininity as performative in the blood melodramas of Francois Truffaut, thereby ascertaining how the narrational strategy of these films may position the spectator in a productive space of ambivalent perversity.

ISBN: 9780542588327Subjects--Topical Terms:

854529
Cinema.

The violent act of femininity: Sexual politics, narrative futility, and gender performativity in the blood melodramas of Francois Truffaut.
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245 1 4 $a The violent act of femininity: Sexual politics, narrative futility, and gender performativity in the blood melodramas of Francois Truffaut.
300 $a 394 p.
500 $a Adviser: Joan Hawkins.
500 $a Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0756.
502 $a Thesis (Ph.D.)--Indiana University, 2006.
520 $a The main objective of this study is to explore the signification of femininity as performative in the blood melodramas of Francois Truffaut, thereby ascertaining how the narrational strategy of these films may position the spectator in a productive space of ambivalent perversity.
520 $a The convergence of the critical field of gender performativity with the discipline of film studies has created ample opportunity to examine the torsion of any sexed "subject" and "utterance"---reference and performance---in the context of narrative cinema. Of particular interest is the radical heterogeneity in the relationship between a feminized signifier and signified in cinema, since analyzing the arbitrariness of such a bond may reveal the repressions and freedoms resulting from the generic modalities of melodrama, suspense thriller, comedy, etc. Thus, the study of referential intelligibility of femininity in cinema becomes the study of spectatorial cognition and pleasure.
520 $a I argue that the films of Francois Truffaut, which frequently figure in debates on gender representation in film studies, present diverse opportunities for examining such semiotic relations in the performance of femininity. Truffaut's blood melodramas are the most significant, as they possess narrative structures of strong negative futility, typically resulting from the storied situation of a sexualized female character within a homosocial milieu, each film depicts an initial double bind in its sexual politics, resolved only through a decisive violent action wrought by the female. Moreover, the films stylistically present a male and female narrational perspective, dually, which positions the spectator in the ambivalent, though pleasurable situation to ascertain the complicated relationship of femininity to its supposed reality.
520 $a I contend that the examination of these crucial intersections will update the question of gender in Truffaut's cinema, allowing for greater insight into the complicated dynamics of the narrative schemes and gender representations of this filmmaker. Furthermore, as an international movie director whose output has been successful as popular feature films and art house pictures, such an examination will create additional understanding of popular genres---the boundaries of film noir, melodrama, and suspense thriller---and the crucial role of "femininity" as a construct in each of these narrative forms.
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