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Ubc theses and dissertations, the femme fatale : a recurrent manifestation of patriarchal fears anderson, lesley cecile marie --> -->.
This thesis examines how and why the representation of the femme fatale is constructed and recycled by a dominant patriarchal ideology throughout history by outlining the catalysts that have produced and continue to produce such a figure. The image of the femme fatale is utilised as an ideological contrivance, occurring in the cultural discourses of various historical epochs in an attempt to quell any social change considered to be threatening to the patriarchal infrastructure. Massive improvements in women's social, political and/or economic position produce stress points in the historical continuum which destabilise previously clearly demarcated sex roles and other boundaries thereby provoking a response from the dominant ideological network through its institutions (legal, governmental, religious) and cultural productions (myth, religion, art, drama, literature, film). It becomes obvious that there is little change in recorded civilised history as to how patriarchal discourses oppressively delineate women. Its ideologically encoded message is clear-a good nurturing mother benefits man, allowing him to be prosperous and progressive, while a selfish and barren female, concerned only for and of herself, is destructive and abhorrent. While the former is a patriarchal necessity, the latter must be reinscribed within the safe workings of the status quo or destroyed. The image of the femme fatale is a recurring patriarchal ideological construction which, in all future simulacra, will possess the archetypal mythological characteristics of the emasculating licentiousness of the Siren, the Furies' malicious retributive sense of justice, the avaricious rapacity of the Harpies and Pandora's narcissistic and destructive curiosity. Because the femme fatale is a symptom and symbol of male fears of female equality, resurfacing at those periods when the smooth workings of the patriarchal social infrastructure are experiencing excess tension, she can be interpreted as a necessary evil not only to the patriarchal network but also as a emblem of inveterate feminist endeavours. Chapter one outlines the ideological implications of the femme fatale's representation; chapter two provides historical contextualisation; chapter three investigates her filmic incarnations in the first half of the twentieth century, concentrating on the femme fatale of film noir; and the final chapter examines issues associated with the contemporary cinematic femme fatale.
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| Title: | Beyond backlash : the femme fatale in contemporary American cinema |
| Authors: | |
| Issue Date: | 2012 |
| Publisher: | Newcastle University |
| Abstract: | This thesis is the first comparative reading of the femme fatale in contemporary American cinema, and makes a significant contribution to a field that has previously limited its focus to film noir of the 1940s and the neo noirs of the 1980s and 1990s. To date, critical examinations of the femme fatale figure in contemporary cinema have centred on issues of post-second wave backlash, and on a very narrow range of films, most notably Fatal Attraction (1987), Basic Instinct (1992), Disclosure (1994), and The Last Seduction (1994), (Kate Stables, 1998; Yvonne Tasker, 1998; Helen Hanson, 2007). This project builds upon this work by taking a thematic approach which allows for a reading of a wider range of film texts which have not yet received much critical investigation in terms of the deadly beautiful woman. Through looking at films from period drama, teen cinema, neo-noir and science fiction film, I consider the implications that the resurgence of this provocative figure across a multitude of cinematic genres has for our understanding of contemporary cultural anxiety about women, and argue that a renewed examination of the femme fatale opens up new avenues of discourse between theorisations of cinematic archetypes and feminist theory. This thesis furthers the work of Mary Ann Doane (1991), E. Ann Kaplan (rev. ed. 1998), and Julie Grossman (2009) which sought to interrogate and question the implications of American cinema’s fascination with the femme fatale in noir texts, by investigating the ways in which the figure brings into focus questions of sexual agency, femininity and power outside of those generic parameters. Significantly I consider how the widening of the critical lens through which the femme fatale is viewed allows new patterns, tensions and anxieties to be traced across a variety of popular genres and modes of production from the Hollywood blockbuster to smaller independent films, to chart thematic tendencies, such as the bisexual femme fatale, the hybrid femme fatale, and the dead femme fatale. In particular, I provide a unique critical assessment of the position of the femme fatale figure in contemporary cinema, and in doing so interrogate the idea of the femme fatale’s sexual mystery, and the myriad ways in which this trait foregrounds issues about sexual fidelity and safety, and both encourages and critiques a patriarchal sense of entitlement to complete knowledge about women’s bodies, intentions and desires. In addressing the ways in which the femme fatale figure operates across cinematic genres and themes in ways which reveal the limits of femme fatale criticism as it currently stands, this study identifies the femme fatale’s ability to move across and between genres, in ways which complicate and disrupt contemporary understandings of femininity and film. By exploring the occurrence of femme fatale figures in films not exclusively concerned with anxiety deriving from the increased economic opportunities for women following second wave feminism, this study offers ways of viewing the beautiful duplicitous woman which move beyond backlash. The thesis is comprised of four chapters. The first is an account of the femme fatale in the retro noir film, and interrogates the tensions between the nostalgic impulses of the retro noir genre and the more complex gender politics centred on the films’ re-presentation of the femme fatale figure. In the second I consider the new teen femme fatale films as both teen updates of the ‘mature’ femme fatale narrative in the burgeoning genre of teen cinema, and as more complex explorations of contemporary anxieties about young femininity. The third chapter interrogates the significance of the frequent cross-genre pairings of female bisexuality with the femme fatale figure, and considers the potential of such figures for feminist meaning beyond patriarchal pornographic fantasy. Finally, chapter four engages with science fiction cinema, and specifically with the figure of the femme fatale whose body is not entirely human, and considers its ramifications for feminist theorisations of the body, agency and femininity. |
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Home > Graduate Research & Artistry > Theses & Dissertations > 5769
Graduate Research Theses & Dissertations
The femme fatale : a phenomenon of obsession, 1864-1910, as seen in the work of three artists.
Brian M. Halsted
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Beard, Dorathea K.
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Department of Art
Femmes fatales in art; Symbolism in art; Art; Modern--20th century; Art; Modern--19th century
This study examines the Symbolist phenomenon of the femme fatale—an image of women that became popular throughout the Western world during the latter decades of the nineteenth century. The theme is frequently depicted through powerfully erotic and exotic images, as poets and painters of the fin-de-siecle era discovered past examples of the destructive capabilities of women. Developed first in a literary form, before progressing and influencing the visual arts, the femme fatale is a contradictory compound of seductiveness, beauty, narcissism, independence, sterility and death. The theme is characteristic of the Aesthetics, Decadents and Symbolists—all of whom shared the attitude of women as a source of evil and destruction. Elevated to an unnatural status of beauty and ailing vulnerability, women of the period became a source of unprecedented intrigue and fear. For the primary artists mentioned in the study (Gustave Moreau, Aubrey Beardsley and Edvard Munch), however, they also became a private obsession. By the end of the century, through the extended imitation of their forms by others and the medium of design, satire and fashion, the femme fatale ultimately became a stereotype. In individual ways, each of the artists discussed led dysfunctional and unconventional lives. As their thoughts and interests turned inward, they withdrew from reality and became preoccupied with their fantasies. Their backgrounds are examined independently and collectively with regard to their attitudes toward life, sexuality and women, revealing a portrait of three major artists who helped to characterize the Symbolist movement. The comments of art historians and critics with regard to the iconography of the femme fatale are evaluated in terms of the works themselves and my own observations. The public’s reaction to the movement is also examined (both in terms of its popularity and survival), as well as a psychological analysis of the repressive Victorian society. A possible theory concerning the underlying fascination for femmes fatales, which I propose was a result of the emergence of the political and social emancipation of women, is also considered.
Includes bibliographical references (pages 120-127)
Recommended Citation
Halsted, Brian M., "The femme fatale : a phenomenon of obsession, 1864-1910, as seen in the work of three artists" (1989). Graduate Research Theses & Dissertations . 5769. https://huskiecommons.lib.niu.edu/allgraduate-thesesdissertations/5769
vi, 127 pages
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Home > Academic Units > Graduate Studies > Electronic Theses and Dissertations > 1602
Electronic Theses and Dissertations
Femme fatales and the shifting gender norms of the 19th century.
Esther M. Stuart , Georgia Southern University Follow
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Spring 2017
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Master of Arts in English (M.A.)
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Douglass Thomson
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Timothy Whelan
This project seeks to explore female monstrosity, specifically the femme fatale, in Gothic literature and its reflection of the shifting gender norms of the nineteenth century. The late 1790s experienced a distinct narrowing of female gender roles. While authors like Mary Wollstonecraft and Mary Hays publish during the eighteenth century, a backlash against such feminist voices took hold as a resurgence of spheres ideology and more traditional gender norms came into vogue. This particular shift in attitudes towards female gender norms is reflected in Scottish poet Anne Bannerman’s work as well as English novelist Charlotte Dacre’s Zofloya. Both authors’s works exhibit early inquiries into female gender roles and express anxiety about the negative impact they had upon society as a whole. Their femme fatales demonstrate the contradictory and destructive nature of gender roles at the beginning of the nineteenth century, but neither author appears able to articulate any solution to those issues. Bram Stoker’s Dracula at the close of the nineteenth century utilizes the same femme fatale trope, yet Mina Harker exhibits more constructive capabilities than her terrifying predecessors.
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Stuart, Esther M., "Femme Fatales and the Shifting Gender Norms of the 19th Century" (2017). Electronic Theses and Dissertations . 1602. https://digitalcommons.georgiasouthern.edu/etd/1602
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"Women Who Get Away With It”: contemporary femme fatales under the patriarchy
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Fatal images: seduction and desire in 19th and 20th century myths of the femme fatale public deposited.
- The femme fatale becomes a central figure in the nineteenth century, but her appearance on the scene of art and literature draws on a long tradition of representation of the ‘destructive woman’ in works from classical mythology, Romantic poetry, European decadent novels, and various cinematic traditions. The figure has crucial implications for the representation of women in a variety of discourses—literature, philosophy, psychoanalysis, and the cinema. But what makes the femme fatale deadly and why she is so persistently an object of fascination in artistic production is one of the objectives of my analysis. My project explores the construction of this mythical discourse through an examination of the figure from Merimee’s Carmen to the most notable Italian version of the femme fatale in the decadent novels of Gabriele D’Annunzio, and the figure’s subsequent reincarnation in early twentieth-century silent Italian cinema. A related issue in all of the works I deal with is the way in which the criticism of the texts or of the myth of the femme fatale itself is caught up in its own ‘theory of seduction’, or the same kind of functional paradox that characterizes the ambivalent power of the femme fatale itself. Whether it be in the commentaries on the Carmen story by critics such as Nietzsche and Adorno, or in the criticism of Italian decadence, and of D’Annunzio in particular, all of these critical discourses rely upon a fetishistic mode of interpretation that in turn, relies upon the critical and thematic seduction of one of the Western tradition’s most problematic -and obsessional—literary figures. The result is a dialectical movement of tension, disavowal, denial, and repression that I argue characterizes the authors, the criticism, and the material itself. I also argue that the figure’s fatality is not merely thematic, but extends to include the ineluctability of her representation and the inevitably fixed set of meanings connected to her image, whether it be during the high point of her representation in the late nineteenth century, or in more recent, arguably ‘post-modern’ versions of her appearance.
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Film Noir's “Femme Fatales” Hard-Boiled Women: Moving Beyond Gender Fantasies
2007, Quarterly Review of Film and Video
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I seek to investigate the representation of gender in film, particularly the ideological meaning of the femme fatale; what it represents. I want to also ask if it challenges the traditionally constructed ideas about gender in cinema? To comprehend the nature of this investigation, questions will be asked on what constitutes objectivization and misogyny on screen, and also importantly, what constitutes a femme fatale. The treating of females as objects, as an idea, shall be investigated in relation to the gaze. In this sense, I want to ask if the representation of the femme fatale is misogynistic or a source of empowerment? I employ a political philosophic interpretation or unmasking of the femme fatale, with a blend of feminist scholarship. I put four films in conversation with each other in an attempt to unmask the ideological meaning of the femme fatale. The films include My Cousin Rachel (2017), Audition (1999), Species (1995), and Species 2 (1998). The construction of the femme fatale in My Cousin Rachel (2017) is misogynistic because it promotes a view that male reasoning is superior to female reasoning. On an ideological level, the femme fatale in the film may be taken to represent a protest against naming and the patriarchal construction of social behaviour. Audition (1999) employs the femme fatale to serve as a violent attack on patriarchy. The femme fatale in Audition (1999) is presented as an obsessed torturer with a sense of madness attached to her. It is this madness; this other dark side of her that invalidates her resistance. Instead of deploying the femme fatale, Species 2 (1998) deploys a fatal man/homme fatale. Species 2 (1998) attempts to shift from patriarchal gender constructions by placing women in positions of power and highlighting issues around body politics in terms of sexual assault and abuse. Species (1995) reinforces the traditional gender constructions in a sense that it depicts women as the ‘objects of the gaze’ and men as the ‘bearers of the gaze’. The femmes fatales presented by the films in question are paranoid constructions with a surplus and excess attached to them. The fatal status of the femmes fatales is attached to them not so much because they cause harm to men, but because they are fundamentally fatal to the very order that empower men and oppress women; the patriarchal order. Less than the Gramscian notion of War of maneuver, the notion of War of position is appropriate in dealing with patriarchal cinema. One of the first and fundamental steps in challenging this male centred cinema is to recognize the material conditions of various groups. We have to interrogate the political economy of cinema in terms of who owns the means of production and who does not; the ones with power and the ones without. If the ideological power of the patriarchal cinema is not properly challenged at an ideological level, then cinema for women will always entail struggle.
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This essay will show that Mulvey's model does produce a valid critique of the phallocentric bias of the industry, but makes inadequate allowances for films that test the bounds of genre. To do this I will apply the work of Laura Mulvey and Gaylun Studlar to the cycle of movies that have been dubbed "Film noir" and show that, using the latter, films like This Gun for Hire (1942) offer challenges to patriarchy, despite the hegemony of traditionally sexist film form.
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Sex and the femme fatale: representations of gender and power in noir
- Masters Thesis
- Christopher Edward Calix
- Geoffrey Green
- Bruce Avery
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- San Francisco State University
- AS36 2010 ENGL .C355
- 2014-03-05T23:44:34Z
- http://hdl.handle.net/10211.3/116811
- Copyright by Christopher Edward Calix, 2010
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Home > GRADSCHOOL > GRADSCHOOL_DISSERTATIONS > 6185
LSU Doctoral Dissertations
Femme fatale in lieder: songs of lorelei by clara schumann, franz liszt, and alexander zemlinsky.
Eun Chong Kang Follow
Doctor of Musical Arts (DMA)
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Dissertation
The femme fatale , a seductive and dangerous woman, is a popular archetype found in literature, art, and music. In German literature, the character of Lorelei is a well-known example of the femme fatale . She is associated with a steep rock cliff on the Rhine River and, from the cliff, convicted of bewitching men resulting in their murder. This written document focuses on Lorelei as the femme fatale character in German literature as seen in three musical settings by composers Clara Schumann, Franz Liszt, and Alexander Zemlinsky. The document also includes limited musical analyses of and singer’s commentary on those three settings. Finally, the document provides information about the manifestation of the femme fatale in classical vocal music and the sociocultural background of the femme fatale in nineteenth-century Europe.
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Kang, Eun Chong, "Femme Fatale in Lieder: Songs of Lorelei by Clara Schumann, Franz Liszt, and Alexander Zemlinsky" (2023). LSU Doctoral Dissertations . 6185. https://repository.lsu.edu/gradschool_dissertations/6185
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THE ROLE OF THE FEMME FATALE IN 21ST CENTURY CINEMA
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Stuart, Esther M., "Femme Fatales and the Shifting Gender Norms of the 19th Century" (2017). Electronic Theses and Dissertations. 1602. https://digitalcommons.georgiasouthern.edu/etd/1602. This thesis (open access) is brought to you for free and open access by the Jack N. Averitt College of Graduate Studies at Georgia Southern Commons.
The re-imagined Victorian femme prominently appears in. three cinematic eras of noir: 1940s film noir, 1980s and '90s retro and neo-noir, and. 2010s femme fatale blockbusters. The apparent heterogeneity of these modes belies their. essential similarities. The novel was to the nineteenth century what film is to the.
The Femme Fatale in the United States developed from certain characteristics represented by the New Woman movement of the 1920's. Jesse Lynch Williams and Edna St. Vincent Millay capture the identifying factors of what a Femme Fatale is and should be. This paper will explore the differences and similarities in the images of the Femme Fatale
Consequently, 'femme fatale ' denotes, in this thesis, a female as well as a male body that challenges pre-established social boundaries through its performativity. The thesis focuses on a sample of six films to illustrate the di verse ways the femme fatale has been configured in Brazilian cinema. It concentrates on three main topics in these ...
Femme Fatale: Images of Evil and Fascinating Women (1979) of "women as malignant, threatening, destructive and fascinating" (9) provides little clarification. In The Femme Fatale: Erotic Icon (1983) Virginia Allen states that she "is a woman who lures men into danger, destruction, even death by means of her overwhelmingly seductive charms" (vii).
The femme fatale : A recurrent manifestation of patriarchal fears. Creator. Anderson, Lesley Cecile Marie. Publisher. University of British Columbia. Date Issued. 1995. Description. This thesis examines how and why the representation of the femme fatale is constructed and recycled by a dominant patriarchal ideology throughout history by ...
My dissertation focuses on the figure of the femme fatale in hardboiled crime fiction, and the effect this trope has on the representation of the male "detective hero" ... femme fatale escaping from the police and finally taking her own life. American hardboiled fiction rose in popularity at the beginning of the 20th century as a subgenre ...
In this thesis, I attempt to investigate how the cultural myth of the femme fatale is reworked in contemporary culture and what it's emancipatory potential might be. Based on theories of Barbara Creed and Julia Kristeva, I argue that the femme fatale is a reworking of the monstrous feminine, which has always been an abject creature.
Publisher: Newcastle University. Abstract: This thesis is the first comparative reading of the femme fatale in contemporary American cinema, and makes a significant contribution to a field that has previously limited its focus to film noir of the 1940s and the neo noirs of the 1980s and 1990s. To date, critical examinations of the femme fatale ...
This study examines the Symbolist phenomenon of the femme fatale—an image of women that became popular throughout the Western world during the latter decades of the nineteenth century. The theme is frequently depicted through powerfully erotic and exotic images, as poets and painters of the fin-de-siecle era discovered past examples of the destructive capabilities of women. Developed first ...
This thesis as a study has successfully establish how the mythical biblical femme fatale character was created, and the circumstances that came about where she was transformed into the epitome of evil. ... Femme Fatales as strong extremely beautiful women do not fit the standards of the Victorian society because the"male-dominated culture ...
This project seeks to explore female monstrosity, specifically the femme fatale, in Gothic literature and its reflection of the shifting gender norms of the nineteenth century. The late 1790s experienced a distinct narrowing of female gender roles. While authors like Mary Wollstonecraft and Mary Hays publish during the eighteenth century, a backlash against such feminist voices took hold as a ...
This thesis examines how contemporary femme fatales operate under patriarchal notions and expectations of gender and femininity to get away with their crimes. Whereas classic femme fatales were relegated to a tragic fate—either through death, incarceration or other forms of subjugation—contemporary femme fatales now have the narrative ...
The focus of this thesis is to examine the construction of femme fatale representations of nineteenth century England, particularly in mid- Victorian to fin-de-siècle art and literature, thus tracing radical and significant social and historical changes of the century and how these affect the femme fatale construction, image, and interpretation.
The femme fatale becomes a central figure in the nineteenth century, but her appearance on the scene of art and literature draws on a long tradition of representation of the 'destructive woman' in works from classical mythology, Romantic poetry, European decadent novels, and various cinematic traditions.
FROM THE FEMME FATALE TO THE FEMME FATALIST: RE-ENVISIONING GENDERED ICONOGRAPHY IN CLASSIC HOLLYWOOD CINEMA . by . NOAH VOLZ . B.A. Florida State University, 2019 . A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English in the College of Arts and Humanities
Dissertation. How horror, mystery, and science fiction films construct femmes fatales Misogyny or empowerment. ... employs the femme fatale to serve as a violent attack on patriarchy. The femme fatale in Audition (1999) is presented as an obsessed torturer with a sense of madness attached to her. It is this madness; this other dark side of her ...
The femme fatale, since her inception to her current portrayals, has offered a limited avenue for the acquisition of agency and has served as a reflection of ever-changing gender roles in society. ... Collections include CSU faculty publications, student dissertations and theses, datasets, and teaching materials. Powered by Samvera Hyrax 3.6.0 ...
The femme fatale, a seductive and dangerous woman, is a popular archetype found in literature, art, and music. In German literature, the character of Lorelei is a well-known example of the femme fatale. She is associated with a steep rock cliff on the Rhine River and, from the cliff, convicted of bewitching men resulting in their murder. This written document focuses on Lorelei as the femme ...
The figure of the femme fatale is understood as inviting her own murder. Supposedly, the cause of the violence done by a man in thrall to her, she is in fact the primary victim of this violence.
derlos Fr. her simply character. asRomance Notes 59.3 (2019): 459-70almost femme fatale, singularly or, more on Manon, recently, alternately casting her a. a sympathetic a feminist heroine (Deloffre and Picard clx). In a this essay, both characteristics particular the history thing about individual readers and which to the narrative itself as ...
The femme fatale is described as a woman of danger and seduction whose ambitions place her in opposition to her male counterpart, so she must be reminded of her place in society (Place 1978, Smith 2017, Grossman 2007). ... The terminology used in this dissertation will be provided by scholarship and expanded upon using analysis. Multiple ...
This femme fatale was demonized by early culture as a symbol of promiscuity and disobedience, yet modern day feminists see her as a positive role model; a figure commanding to be equal to man during the first creation (Chong, 1988). She was a female demon of the night that slept with men to seduce them in to propagating demon sons (Hefner, 2003).