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Desire, Intimacy, Transgression, and the Gaze in the Work of Andrea Arnold and Lynne Ramsay
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Chapter 11 revisits feminist screen studies notions of the filmic gaze through the simulated, high-impact sex films made by female directors Andrea Arnold and Lynne Ramsay. With particular emphasis on Arnold’s Red Road and Ramsay’s Morvern Callar, the chapter explores the work of Laura Mulvey, Lynn Williams, Anne Kaplan, Elizabeth Grosz, Slavoj Žižek, and Elena del Rio in light of Horeck and Kendall’s “unsayable” and Grønstad’s “unwatchable” concepts to shift emphasis from the gaze to the role of the sensory and the affective in extreme cinema. Overall, this chapter brings into dialogue the concepts of desire, intimacy, and risk in feminist film studies as part of a larger conversation (undertaken throughout this book) about sociological theories of risk, the mapping of embodiment in feminist geography, and interdisciplinary debates more generally.
Title: Desire, Intimacy, Transgression, and the Gaze in the Work of Andrea Arnold and Lynne Ramsay
Description:
Chapter 11 revisits feminist screen studies notions of the filmic gaze through the simulated, high-impact sex films made by female directors Andrea Arnold and Lynne Ramsay.
With particular emphasis on Arnold’s Red Road and Ramsay’s Morvern Callar, the chapter explores the work of Laura Mulvey, Lynn Williams, Anne Kaplan, Elizabeth Grosz, Slavoj Žižek, and Elena del Rio in light of Horeck and Kendall’s “unsayable” and Grønstad’s “unwatchable” concepts to shift emphasis from the gaze to the role of the sensory and the affective in extreme cinema.
Overall, this chapter brings into dialogue the concepts of desire, intimacy, and risk in feminist film studies as part of a larger conversation (undertaken throughout this book) about sociological theories of risk, the mapping of embodiment in feminist geography, and interdisciplinary debates more generally.
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