The Violent Woman: Femininity, Narrative, And Violence In Contemporary American Cinema (S U N Y Series in Feminist Criticism and Theory)
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In The Violent Woman, Hilary Neroni brings psychoanalytically informed film theory to bear on issues of femininity, violence, and narrative in contemporary American cinema. Examining such films as Thelma and Louise, Fargo, Natural Born Killers, and The Long Kiss Goodnight, Neroni explores why American audiences are so fascinated even excited by cinematic representations of violent women, and what these representations reveal about violence in our society and our cinema. Neroni argues that violent women characters disrupt cinematic narrative and challenge cultural ideals, suggesting how difficult it is for Hollywood the greatest of ideology machines to integrate the violent woman into its typical narrative structure."
“badness.” Soon after they are married, Annie tells Bart that she wants more than they have, and she coldly demands that they commit crimes to get more money. She doesn’t care whom she hurts in the process, in this manner, her “badness” has been firmly established before she is violent. Importantly, female violence at this period in film history is always the exclusive province of the licentious femme fatale. These women, of course, represent quite a shift from the virtuous heroines in the Serial
in the particular that theorists such as Newman claim it is almost impossible to universalize about it. Such an attitude also mirrors the common feeling that violence often erupts spontaneously, as a highly irrational response to a conflict or problem. While it may be true that violence is a concept that is strongly rooted in the particularity of specific violent acts—precisely what makes them seem to erupt spontaneously—this chapter begins with the basic idea that it is essential to look at how
battle. [ . . . ] Not since the era of Theodore Roosevelt has the notion of a warrior president, as opposed to commander-in-chief, been viable in popular narratives.9 Luhr claims that this depiction of the “warrior president” emerges in reaction to a crisis in masculinity. This figure develops out of a longing for a more traditional patriarchal authority. It is not surprising that to reinvent this presidential patriarch, films are relying on violence as the signifier that has the most direct
NIC (Naval Intelligence Center) as a topographic analyst. She fits the military’s idea of a service woman: neatly dressed, with several hints of femininity. Her long hair is pulled into a bun at the nape of her neck; she is wearing pearl earrings and makeup. To be accepted as a possible 144 The Violent Woman on the Contemporary Screen Navy SEAL, however, Jordan goes through the process of systematically stripping herself of aspects of femininity. She does not try to become male, nor does she
history of Hollywood racism, it is not surprising that this more mainstream trend begins with violent white women. Black actresses do not appear in these mainstream action roles until the mid-1990s. 33. Interestingly, Lyne’s Unfaithful (2002) is about a stay-at-home mom whose spontaneous affair with a beautiful young man drives her husband to violence and almost ruins her family. One might wonder in what scenario Lyne imagines women not driving men crazy and ruining the family. Certainly in 2002,