| Abstrakt: |
The Gothic woman's film, as a particular 1940s phenomenon, responded to the social changes caused by the upheavals of the Second World War. It featured female protagonists, expressed anxieties about marriage and complicated the classic realist premises of narrative and heterosexual closures. As the Gothic narrative trajectory revolved around the heroine's pursuit of marital happiness, these films are often theorized in the sexually differentiated terms of Lacanian psychoanalysis. As a result, they are interpreted as cinematic manifestations of paranoia, primal scenes, passive female desires and the impossibility of female subjectivity. Tay considers how the Gothic woman's film may resist such psychoanalytic codifications by considering critiques of psychoanalysis and investigating the ways in which Gilles Deleuze's cinematic topography may apply to the genre. This engagement with Deleuze reveals how 1940s Gothic films—such as "Suspicion" (Hitchcock, 1941), "Gaslight" (Cukor, 1944), and "Sleep, My Love" (Sirk, 1948)—breach the narrative normativity of classic realist love stories like "Random Harvest" (LeRoy, 1942). Culminating in a detailed analysis of Hitchcock's "Rebecca" (1940) as a film that sustains female transgression in its textual operation, Tay posits possibilities for furthering a feminist cinematic discourse beyond psychoanalytic codifications. [ABSTRACT FROM AUTHOR] |
