Ein Blick Auf Die Rückseite Der Leinwand: Feministische Perspektiven Zur Produktion Von Weiblichkeit Im Diskurs >Film
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Die Studie liefert einen genderorientierten Beitrag zur aktuellen kulturwissenschaftlichen Debatte über den Film. Sie untersucht kritisch-dekonstruktiv die Repräsentationsformen von Weiblichkeit im klassisch-narrativen Kino, wie beispielsweise an Gary Marshalls romantischer Komödie Pretty Woman oder auch Jon Amiels, scheinbar mit dem Bild starker Weiblichkeit operierenden Polizeithriller Copykill . Gemä kultureller Normen reguliert der filmische Diskurs Weiblichkeit durch Mechanismen, deren Naturalisierungseffekte sie jenseits bedeutungskonstitutiver Funktion unhintergehbar als 'das Andere' repräsentieren. Wenn aber die Effekte zur selbstbegründenden Stabilisierung des Dispositivs generiert sind, zeugt dies von der eigenen Imperfektibilität. Aus dieser Erkenntnis schreibt die Studie widerständige filmische Praktiken fort, die sich als kritisches Wi(e)derlesen kultureller Meister-Erzählungen verstehen. Filme wie Sally Potters Orlando , Susan Streitfelds Female Perversions sowie Yvonne Rainers Murder and murder reflektieren im Proze ihrer Bedeutungskonstitution die problematische Repräsentabilität von Weiblichkeit. Diese ist bereits widersprüchlich in dem Ma e konstituiert, wie Frauen in westlichen Kulturen immer schon gesellschaftliche Subjekte und zugleich Repräsentationen des 'Anderen', 'Objekthaften' sind.
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