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Artigos

v. 1 n. 2 (2019)

Gender and Perspective in Scarlet Street

DOI
https://doi.org/10.22456/2596-0911.93026
Enviado
May 19, 2019
Publicado
2019-10-01

Resumo

This paper presents an interpretation of the 1945 forbidden film Scarlet Street in a way so as to touch the problem of gender in film noir. Firstly, I give an ac-count of film noir, agreeing with Robert Pippin’s argument concerning film genres. Then, I claim that time and repetition, irony and hierarchy, art and per-spective constitute the core subjects explored in Scarlet Street. Furthermore, I try to connect all the subjects into a single one. My point is to show how art, perspective, time, repetition, irony and hierarchy are articulated in the main character’s gender identity. Finally, I suggest there is a deep connection be-tween the movie’s character constitution and Cavell’s understanding of gender and agency.

Keywords: Film. Gender. Psychoanalysis. Cavell. Freud.

Referências

  1. BENJAMIN, Jessica. The Bonds of Love: Psychoanalysis, Feminism, and the Problem of Domination. New York: Pantheon, 2013.
  2. FREUD, Sigmund. Civilization and its Discontents (1930). London: Penguin, 1973.
  3. FREUD, Sigmund. The Dissolution of the Oedipus Complex (1924). London: Penguin, 1973.
  4. FREUD, Sigmund. The Economic Problem of Masochism (1924). London: Penguin, 1973.
  5. FREUD, Sigmund. Mourning and Melancholy (1917). London: Penguin, 1973.
  6. LAPLANCHE, Jean; PONTALIS, J. B. The Language of Psycho-Analysis. London: W. W. Norton, 1974.
  7. MARTIN, Adrian. Guess-Work: Scarlet Street. Movie: A Journal of Film Criticism, n. 3, p. 35-42, 2011.
  8. MULHALL, Stephen, Stanley Cavell: Philosophy's Recounting of the Ordinary. Oxford: Clarendon Press, 1994.
  9. PIPPIN, Robert B. Fatalism in American Film Noir: Some Cinematic Philosophy (Page-Barbour Lectures). [S.l.]: University of Virginia Press, 2012.

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