Presentation Title

‘On ne peut pas y échapper’: Space, Time, and Gender Transformation in Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles and Under the Skin

Presentation Type

Oral Presentation

School

School of Arts and Humanities

Discipline

Film Studies

Mentor

Irina Leimbacher

Date & Time

April 9th at 9 AM - 10 AM

Location

David F. Putnam Science Center, Room 154

Abstract

In this paper, I investigate the ways cinematic representations of space, time, and gender can create the possibility for transgressive representational practices. Using a theoretical framework informed by both queer theory and film theory, I compare and analyze two very different films: Chantal Akerman's Jeanne Dielman and Jonathan Glazer's Under the Skin. These films both feature female characters in the process of becoming and unbecoming, and both films are structured around the two main character's feminine routines as they happen in both determinate and indeterminate time and space. If gender is an identity maintained in time and space, as Judith Butler argues in her gender performativity theory, then challenging dominant gender discourse must occur through the deconstruction and subversion of feminine time and space. By examining these films side-by-side and scene-by-scene, I explore the ways in which they use time and space to either challenge or support gender discourse.

Share

COinS
 
Apr 9th, 9:00 AM

‘On ne peut pas y échapper’: Space, Time, and Gender Transformation in Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles and Under the Skin

David F. Putnam Science Center, Room 154

In this paper, I investigate the ways cinematic representations of space, time, and gender can create the possibility for transgressive representational practices. Using a theoretical framework informed by both queer theory and film theory, I compare and analyze two very different films: Chantal Akerman's Jeanne Dielman and Jonathan Glazer's Under the Skin. These films both feature female characters in the process of becoming and unbecoming, and both films are structured around the two main character's feminine routines as they happen in both determinate and indeterminate time and space. If gender is an identity maintained in time and space, as Judith Butler argues in her gender performativity theory, then challenging dominant gender discourse must occur through the deconstruction and subversion of feminine time and space. By examining these films side-by-side and scene-by-scene, I explore the ways in which they use time and space to either challenge or support gender discourse.