Marnie as the Hysteric and a Nomadic Subject in Hitchcock's Marnie.
The controversy over whether Alfred Hitchcock is a misogynist has continued, as the depictions of women in his films have been particularly problematic. However, depending on the reader's perspective, Hitchcock's employment of misogynist elements in his works can be read as a tactical strategy to re...
| Published in: | Frontiers: A Journal of Women Studies Vol. 43; no. 1; pp. 1 - 25 |
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| Format: | Article |
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University of Nebraska Press
2022
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=155109081&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 155109081 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01609009 FON jtl: Frontiers: A Journal of Women Studies issn: 01609009 maglogo: N pubinfo: dt: 2022 vid: 43 iid: 1 pid: 758 pub: University of Nebraska Press artinfo: ui: 155109081 10.1353/fro.2022.0008 ppf: 1 ppct: 24 formats: fmt: – @attributes: type: T – @attributes: type: P size: 386KB tig: atl: Marnie as the Hysteric and a Nomadic Subject in Hitchcock's Marnie. aug: au: Kim, Mijeong su: Hitchcock, Alfred, 1899-1980 Violence against women Fictional characters Misogyny Sexism Violence Feminists sug: subj: Hitchcock, Alfred, 1899-1980 Violence against women Fictional characters Misogyny Sexism Violence Feminists keyword: Alfred Hitchcock becoming-woman Deleuze and Guattari lines of flight Marnie (1964) nomadic subject Rosi Braidotti the hysteric ab: The controversy over whether Alfred Hitchcock is a misogynist has continued, as the depictions of women in his films have been particularly problematic. However, depending on the reader's perspective, Hitchcock's employment of misogynist elements in his works can be read as a tactical strategy to reveal and challenge phallocentric ideologies. Hence, this paper presents the perspective that Hitchcock's Marnie (1964), one of Hitchcock's most controversial works, which portrays the male protagonist's patriarchal violence against an unstable, mysterious, and potentially dangerous woman who refuses to remain an exchangeable property between men, is revealing, rather than appropriating, sexism and misogyny, the normative patriarchal privileges. In attempting to reread Hitchcock's Marnie as a feminist text, this paper highlights the fact that Marnie makes an issue of misogynistic sexual politics, paradoxically, by obviously dramatizing them. In particular, noting that Hitchcock interrogates the "woman" within misogynistic contexts or frames, this paper attempts to elaborate on how the main female character of Marnie can be regarded as positively subversive, particularly in feminist Deleuzian terms. In order to read Marnie as the hysteric and a nomadic subject, a subversive and transgressive character who performs Deleuzian "becoming-woman," this study examines how Marnie attempts and struggles to escape from the hegemonic patriarchal domination of striated space by drawing lines of flight. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Frontiers: A Journal of Women Studies is the property of University of Nebraska Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Frontiers: A Journal of Women Studies holder: University of Nebraska Press dt: @attributes: year: 2022 holdings: @attributes: islocal: N |
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