The Showgirl Effect: Adolescent Girls and (Precarious) “Technologies of Sexiness” in Contemporary Italian Cinema
The Showgirl Effect: Adolescent Girls and (Precarious) “Technologies of Sexiness” in Contemporary Italian Cinema
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歌舞女郎效应：当代意大利电影中的青春期女孩和（不稳定的）“性感技术”
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发表时间：
2016
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通讯作者：
Danielle E. Hipkins
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作者：
Danielle E. Hipkins
同名的意大利畅销小说主人公玛丽娜·贝莱扎(Silvia Avallone，米兰：Rizzoli，2013)利用自己杰出的美貌，刻苦训练成为一名歌手，并闯入电视选秀比赛。她被描绘成一个敬业但野心勃勃的人，危险的乱交，不可靠。这部小说将玛丽娜对名人的渴望病理性地描述为一个破碎的家庭的产物，这部小说是意大利媒体话语的最新产物，该话语将少女时代与这位女电视名人的关系“壮观”起来。莎拉·普罗扬斯基描述了美国媒体是如何将少女时代“壮观”起来的，使得焦虑和矛盾心理，以及(通常)唯一的白色，女孩的外表状况成为“展示的视觉对象”。普罗扬斯基认为，在《少女权势》中“能干”的女孩和“处于危险中”的脆弱女孩之间，“崇拜和诋毁”之间的焦虑二分，构成了对少女时代的当代解读，女孩可以很容易地在两极之间移动，从“令人难以置信的”转变为“丑闻”。1在文本中对玛丽娜金发美貌的“崇拜”，以及对她为了出人头地而无视他人感受的“诋毁”，但在小说中糟糕的就业前景的强调背景下，我们可以读到意大利人对当代女孩和女性未来的独特看法的升华。
The eponymous working-class protagonist of bestselling Italian novel, Marina Bellezza (Silvia Avallone, Milan: Rizzoli, 2013), trades on her outstanding beauty by training hard to become a singer, and breaking into television talent contests. She is depicted as dedicated, but ruthlessly ambitious, dangerously promiscuous, and unreliable. In pathologizing Marina’s desire for celebrity as the product of a broken home, the novel is the latest product of an Italian media discourse that “spectacularizes” girlhood in relation to the female television celebrity. Sarah Projansky has described how the “spectacularization” of girlhood works in the US media, making anxiety and ambivalence, and (usually) an exclusive whiteness, the conditions of the girls’ appearance as “visual objects of display.” Projansky suggests that the anxious dichotomies between “adoration and denigration,” between the “can-do” girl of “Girlpower,” and the “at risk” vulnerable girl, structure contemporary interpretations of girlhood, in which the girl can easily move between the polarities and transform from “fabulous” into “scandal.”1 In the text’s “adoration” of Marina’s blonde good looks, and the “denigration” of her disregard for others’ feelings in order to get ahead, but also in the novel’s emphatic context of poor job prospects, we can read a distillation of the peculiarly Italian take on contemporary girlhood and female futures.