![]() ![]() ![]() In the imaginary, nightmarish world of Antichrist, in its ultimate negativity and perceived identification with the idea that women may be evil by their very nature, the film takes an already established historical discourse of female marginalization and identifies with it to the very point of that discourse’s self-destruction. It neither looks for positive traits in Antichrist nor dismisses it as an entirely harmful film. Chapter 7 argues that if there is any female character in the history of cinema that comes close to presenting the viewer with the clearest possible image of Lacan’s Woman who is outside the system of symbolization yet threatens its very foundation, it is Charlotte Gainsbourg’s character in Antichrist. ![]()
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