‘I hate to be the feminist here…’: reading the post-epitaph chick flick
‘I hate to be the feminist here…’: reading the post-epitaph chick flick
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“我讨厌成为这里的女权主义者……”：阅读墓志铭后的小鸡电影
DOI：
10.1080/10304312.2017.1313389
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发表时间：
2017
期刊：
影响因子：
--
通讯作者：
Diane Negra
中科院分区：
文献类型：
--
作者：
S. Cobb;Diane Negra
近年来，无数的报道（通常是热情地）宣布了言情片的死亡，这种类型的作品自20世纪90年代达到顶峰以来已经明显放缓。我们在这里分析了最近两部“后墓志铭”阶段的热门作品，以了解这些电影正在尝试的通用更新类型，以及它们如何将女性置于不断变化的性别规范和新自由主义资本主义的条件下。我们发现，在Trainwreck（2015）和The Intern（2015）中，女性主角与父权权力结构的联系得到了重新确认，两部电影最终都保留了对刚性秩序的承诺，不愿意支持女性的性代理或设想更灵活的经济安排。
Abstract Numerous accounts in recent years have announced (often zealously) the death of the chick flick, a genre whose output has conspicuously slowed since a peak in the 1990s. We analyse here two recent hits from the ‘post-epitaph’ phase in order to understand the kinds of generic updates such films are attempting and how they place women in regard to changing gender norms and the conditions of neoliberal capitalism. We find that in Trainwreck (2015) and The Intern (2015) female protagonists’ affiliation with patriarchal power structures is re-confirmed and both films ultimately retain a commitment to a rigid order unwilling to countenance female sexual agency or envision more flexible economic arrangements.