Gender and Perspective in Scarlet Street

Fernando Valenzuela Carlucci

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.


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Referências


BENJAMIN, Jessica. The Bonds of Love: Psychoanalysis, Feminism, and the Problem of Domination. New York: Pantheon, 2013.

FREUD, Sigmund. Civilization and its Discontents (1930). London: Penguin, 1973.

FREUD, Sigmund. The Dissolution of the Oedipus Complex (1924). London: Penguin, 1973.

FREUD, Sigmund. The Economic Problem of Masochism (1924). London: Penguin, 1973.

FREUD, Sigmund. Mourning and Melancholy (1917). London: Penguin, 1973.

LAPLANCHE, Jean; PONTALIS, J. B. The Language of Psycho-Analysis. London: W. W. Norton, 1974.

MARTIN, Adrian. Guess-Work: Scarlet Street. Movie: A Journal of Film Criticism, n. 3, p. 35-42, 2011.

MULHALL, Stephen, Stanley Cavell: Philosophy's Recounting of the Ordinary. Oxford: Clarendon Press, 1994.

PIPPIN, Robert B. Fatalism in American Film Noir: Some Cinematic Philosophy (Page-Barbour Lectures). [S.l.]: University of Virginia Press, 2012.




DOI: https://doi.org/10.22456/2596-0911.93026

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