Взгляд киборга в кинематографе XXI века: на примере фильма Жюлии Дюкурно «Титан»

Elizaveta V. Gritsenok

doi:10.33910/2687-1262-2024-6-1-75-80

Authors

Elizaveta V. Gritsenok Herzen State Pedagogical University of Russia https://orcid.org/0009-0003-7006-4878

DOI:

https://doi.org/10.33910/2687-1262-2024-6-1-75-80

Keywords:

posthumanism, identity, cyborg, gaze, female gaze, body horror

Abstract

The article examines the cyborg’s identity in the 21^st century cinema. The French-Belgian film Titane (2020) by Julia Ducournau is taken for analysis as an example of the cyborg gaze. The phenomenon of “gaze” (English “aze”, French “le regard”) is used as a method. The first section of the article describes the specifics of the cyborg concept theorized in A Cyborg Manifesto by Donna Haraway, as well as in feminist and posthuman studies. A cyborg as a human/ machine hybrid is a creature that connects various oppositions: natural/ technological and male/female. Situated knowledge and affinity with others through difference are the features of the cyborg identity. The second section of the article explores the rationale for the use of the gaze theory in film studies. Adopting Jacques Lacan’s mirror stage, cinema theorists draw a connection between the gaze and the identification of spectators, film creators and characters in the film domain. In particular, Laura Mulvey theorizes that classical Hollywood cinema is shot from the male subject perspective and comes to the conclusion that female characters have passive role as objects of the male desire. The third section of the article determines the specifics of the cyborg gaze in the body horror Titane (2020). The heroine Alexia has cyborg corporeality, which is manifested in androgyny, as well as sexual and genetic connection with machine. The heroine’s finding of a family (‘kin’), her inhuman ethics and her caring practices are the characteristics that define her cyborg identity. Fear in body horror films is caused by extreme physical transformation, and in the motion picture under study fear stems from replicating the visual apparatus of the cyborg subject.

References

ИСТОЧНИКИ

Дюкурно, Ж. (2020) Титан. Кинопоиск: онлайн-кинотеатр. [Электронный ресурс]. URL: https://hd.kinopoisk.ru/film/4d14b202794d3ddc9098c0afe34f19f8 (дата обращения 28.06.2023)

ЛИТЕРАТУРА

Агамалова, Л. (2019) Дуалистическое в феминистских эпистемологиях: Д. Харауэй, К. Барад. nauka.me, № 2, статья 2. https://doi.org/10.18254/S241328880008051-0

Гапова, Е. И., Усманова, А. Р. (2000) [Комментарии к статье «Визуальное удовольствие и нарративный кинематограф»]. В кн.: Е. И. Гапова, А. Р. Усманова (сост.). Антология гендерной теории. Минск: Пропилеи, с. 280–283.

Герасименко, И. Е. (2017) «Мужской взгляд» и теория феминистского кино. Гуманитарные ведомости ТГПУ им. Л. Н. Толстого, № 4 (24), с. 42–51.

Лакан, Ж. (1998) Стадия зеркала, как образующая функцию Я, какой она раскрылась нам в психоаналитическом опыте. В кн.: В. Мазин (ред.). Кабинет: картины мира I. СПб.: Инапресс, с. 135–142.

Малви, Л. (2000) Визуальное удовольствие и нарративный кинематограф. В кн.: Е. И. Гапова, А. Р. Усманова (ред.). Антология гендерной теории. Минск: Пропилеи, с. 280–296.

Харауэй, Д. (2005) Манифест киборгов: наука, технология и социалистический феминизм 1980-х гг. В кн.: Л. М. Бредихина, К. Дипуэлл (ред.). Гендерная теория и искусство. Антология: 1970–2000. М.: Росспэн, с. 322–377.

Харауэй, Д. (2016) Антропоцен, Капиталоцен, Плантациоцен, Ктулуцен: создание племени. Moscow Art Magazine, № 99. [Электронный ресурс]. URL: https://moscowartmagazine.com/issue/39/article/771 (дата обращения 05.06.2023)

Харауэй, Д. (2022) Ситуативные знания: вопрос о науке в феминизме и преимущество частичной перспективы. Логос, т. 32, № 1 (146), с. 237–271. https://doi.org/10.22394/0869-5377-2022-1-237-268

Чукуров, А. Ю. (2017) Бодимодификации и некоторые особенности их репрезентации в популярной культуре. Вестник психофизиологии, № 3, c. 33–39.

Allen, R. (2004) Psychoanalytic film theory. In: R. Stam, T. Miller (eds.). A companion to film theory. Oxford: Blackwell Publ., pp. 123–145. https://doi.org/10.1002/9780470998410.ch8

Fuery, P. (2000) The Gaze: Masochism, identification and phantasy in the spectator. In: P. Fuery New developments in film theory. London: Palgrave, pp. 6–23. https://doi.org/10.1007/978-0-333-98569-4_2

Sandoval, C. (2000) Methodology of the oppressed. Vol. 18. Theory out of bounds. Minneapolis: University of Minnesota Press, 264 p.

Scateni, R. (2020) How Portrait of a Lady on Fire celebrates the female gaze. British Film Institute. [Online]. Available at: https://www.bfi.org.uk/features/portrait-lady-fire-female-gaze (accessed 05.06.2023)

SOURCES

Ducournau, J. (2020) Titane. Kinopoisk: streaming service. [Online]. Available at: https://hd.kinopoisk.ru/film/4d14b202794d3ddc9098c0afe34f19f8 (accessed 28.06.2023). (In Russian)

REFERENCES

Agamalova, L. (2019) Dualisticheskoe v feministskikh epistemologiyakh: D. Kharauej, K. Barad [Dualism in feminist epistemologies: D. Haraway, C. Barad]. nauka.me, no. 2, article 2. https://doi.org/10.18254/S241328880008051-0 (In Russian)

Allen, R. (2004) Psychoanalytic film theory. In: R. Stam, T. Miller (eds.). A companion to film theory. Oxford: Blackwell Publ., pp. 123–145. https://doi.org/10.1002/9780470998410.ch8 (In English)

Chukurov, A. Yu. (2017) Bodimodifikatsii i nekotorye osobennosti ikh reprezentatsii v populyarnoj kul’ture. [Body modification and some peculiarities of their representation in popular culture]. Vestnik psikhofiziologii — Psychophysiology News, no. 3, c. 33–39. (In Russian)

Fuery, P. (2000) The Gaze: Masochism, identification and phantasy in the spectator. In: P. Fuery New developments in film theory. London: Palgrave, pp. 6–23. https://doi.org/10.1007/978-0-333-98569-4_2 (In English)

Gapova, E. I., Usmanova, A. R. (2000) [Commentary to article “Visual pleasure and narrative cinema”]. In: E. I. Gapova, A. R. Usmanova (comps.). Antologiya gendernoj teorii [Gender theory anthology]. Minsk: Propilei Publ., pp. 280–283. (In Russian)

Gerasimenko, I. E. (2017) “Muzhskoj vzglyad” i teoriya feministskogo kino [“The male gaze” and the theory of feminist cinema]. Gumanitarnye Vedomosti TGPU im. L. N. Tolstogo, no. 4 (24), pp. 42–51. (In Russian)

Haraway, D. (2005) A manifesto for cyborgs: Science, technology, and socialist feminism in the 1980s. In: L. M. Bredikhina, K. Dipuell (eds.). Gendernaya teoriya i iskusstvo. Antologiya: 1970-2000 [Gender theory and art. Anthology: 1970–2000]. Moscow: Rosspen Publ., pp. 322–377. (In Russian)

Haraway, D. (2016) Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin. Moscow Art Magazine, no. 99. [Online]. Available at: https://moscowartmagazine.com/issue/39/article/771 (accessed 05.06.2023). (In Russian)

Haraway, D. (2022) Situated knowledges: The science question in feminism and the privilege of partial perspective. Logos, vol. 32, no. 1 (146), pp. 237–271. https://doi.org/10.22394/0869-5377-2022-1-237-268 (In Russian)

Lacan, J. (1998) Le stade du miroir comme formateur de la fonction du Je. In: V. Mazin (ed.). Kabinet: kartiny mira I [Kabinet anthology: World views I]. Saint Petersburg: Inapress Publ., pp. 135–142. (In Russian)

Mulvey, L. (2000) Visual pleasure and narrative cinema. In: E. I. Gapova, A. R. Usmanova (eds.). Antologiya gendernoj teorii [Anthology of gender theory]. Minsk: Propilei Publ., pp. 280–296. (In Russian)

Sandoval, C. (2000) Methodology of the oppressed. Vol. 18. Theory out of bounds. Minneapolis: University of Minnesota Press, 264 p. (In English)

Scateni, R. (2020) How Portrait of a Lady on Fire celebrates the female gaze. British Film Institute. [Online]. Available at: https://www.bfi.org.uk/features/portrait-lady-fire-female-gaze (accessed 05.06.2023). (In English)

Cyborg gaze in the 21st century cinema: The case of Julia Ducournau’s Titane

Authors

DOI:

Keywords:

Abstract

References

Downloads

Published

Issue

Section

License

Information

Make a Submission

Language

organizations

Policy

Indexing