A Theory Of Sexism As Ambivalence Toward

In my present essay, I suggest that we ought to consider what possibilities an as yet unidentified post-structural influence might have had, or could have, on film genre studies.

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In her essay in this issue, Janet Staiger identifies one such post-structural influence, that of literary scholar Thomas O. The significance of my version of post-structural genre theory will lie in the way it illuminates the competing political identity issues such as class, gender, and race within the genre film. After defining what I mean by post-structuralism and identifying some genre critics who engage in post-structuralist reading strategies, I will detail the potential of this approach through A Theory Of Sexism As Ambivalence Toward analysis of The Shining Stanley Kubrick, The King fans enter the film fully expecting a generically stable horror film, while the academic critics interpret The Shining as a melodrama detailing the disintegration of a middle-class American family.

I suggest that instead of arguing over the generic make-up of particular films, we ought to be examining how the presumed generic status of a film demarcates strategies for interpretation. Read more the case of my analysis of The Shining, I am concerned with the way the genre functions of horror and melodrama serve as unifying fictions for two sets of interpretive communities to make sense of a politically polysemous and perhaps contradictory text.

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Wood states, One of the greatest obstacles to any fruitful theory of genre has been the tendency to treat the genres as discrete. Such a conception of families of genres allows a more precise understanding of the generic contradictions produced by readings of The Shining.

Continue reading film presents both a ghost story and a horror film, a tale of the uncanny and a family melodrama. In his book The Fantastic, Todorov explores this liminal genre which he sees as bridging the gap between the uncanny and the marvelous. But these two genres represent for Todorov the two extremes around his true area of interest, the story which fits into the genre he coins the fantastic. He argues that in certain fictions, There occurs an event which cannot be explained by the laws of this same familiar world.

The person who experiences the event must opt for one of two possible solutions: A Theory Of Sexism As Ambivalence Toward he is victim of an illusion of the senses, of a product of the imagination— and laws of the world then remain what they are; or else the event has indeed taken place, it is an integral part of reality—but then this reality is controlled by laws unknown to us.

Of course, Todorov uses structuralist methods to define the marvelous and the uncanny as binary oppositions. Thus, I argue that Todorov, like critics such as Foucault, Roland Barthes, and Robin Wood, whose methods seem to be grounded in structural binary oppositions, produce criticism useful for the post-structural dismantling of such binaries.

As articulated in American film history, the distinctions between the melodrama and the horror film replay this binary between the uncanny and the marvelous. The melodrama offers a generic tradition securely located in the uncanny. Even though Doane analyzes the gothic subgenre of the melodrama, the uncanny is also applicable to the genre as https://modernalternativemama.com/wp-content/custom/essay-samples/my-journey-to-becoming-a-better-writer.php whole.

For the home or house connotes not only the familiar but also what is secret, concealed, hidden from sight ]

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