Reading Questions for Week Ten
Post your reading questions for week ten’s readings:
Jennifer Bean’s “Technologies of Early Stardom and the Extraordinary Body”
Ben Singer’s “Female Power in the Serial-Queen Melodrama: The Etiology of an Anomaly
Kristine Butler’s “Irma Vep, Vamp in the City: Mapping the Criminal Feminine in Early French Serials”
Please, post them in the comment section for this entry.
March 15th, 2007 at 12:50 am
I really like Jennifer M. Bean’s essay “The Technologies of Early Stardom and the Extraordinary Body.” She makes a number of tantalizing points that I think could be usefully applied elsewhere, in particular her renewal of the idea that mimesis suggests cinematic shocks work to dissolve the audience’s distinction between the body on screen and their own body, using trauma theory. I’m curious though about her conclusion that these shocks likewise work to dissolve Cartesian structures of sexual difference. One challenge to this idea would be the fact mentioned last week that these films, particularly The Perils of Pauline, were most popular amongst female audiences. While she’s careful to emphasize the tentativeness of her argument, I wonder if even her own reasoning at other moments contradicts this concluding point. I’m thinking especially of the second section of her essay in which she accounts for the use of female stars in these roles by suggesting that the audience brought to their spectatorship beliefs about the particularly corporeal quality of women, which itself is an idea formed out of structures of gendered difference.
March 15th, 2007 at 11:36 pm
I just wanted to make sure to post this week after seeing the films discussed in the article, particulalrly Les Vampires. What I noted, which went along with someone’s point mentioned in lecture is that at certain times the character’s did reference or aknowledge the camera. Irma glanced at the camera a few times while being sneeky with liquids..giving the olde shifty eyes and the main character Phillipe was the most direct. He presented the codebook to us from out of his pajama pocket, like it was our little secret. I was disappointed in the fact that we didnt get to see Irma in her full costume, I wonder if her character in general changed in that get-up…did she walk differently? Nonetheless I for some reason really liked watching her onscreen, she demanded attention. I think her sexuality was present but not forced, it was an inner power she held within the Vampires which made her sexy. She was the one with power, and we all know power it sexy, look at Trudeau mania (despite his rather dull looks, he had the power which made him sexy)! Her actions were given the most importance for the bad guys, she was the one who moved the story along, she did all the work. Does anyone else find her sexy without the black, tight bodysuit?
March 21st, 2007 at 10:22 pm
Similar to what my colleagues have said above me here, i intend to reference the looks to the camera that we saw in this weeks pieces. What i found interesting was how these glances and similar uses of mise-en-scene were used in ways to promote a ’subtle’ idea to the audience. Perhaps it was necessary to blatantly draw attention to the fact that Irma was doing and evil deed, or a have a shot focussed quite strangely on the little red book in order to control the audiences gaze in a manner that makes them follow the story. It seems to suggest that early audiences were less used to the idea of dramatic irony, and so filmmakers had to find more blunt ways to convey these pieces of story that use the thematic device. I wonder if many other films share the same traits.
March 22nd, 2007 at 3:16 pm
After watching and discussing Irma Vep in class, I was intrigued by issues surrounding the possible erotic nature of the character. From this perspective, I was drawn to the way Irma functions as a representation of a lower class woman existing in a kind of liminal space between traditional conceptions of the private housewife and public prostitute. In a way, Irma’s agency can be seen as an untraditional, yet still very erotic depiction of a woman which possibly ( at least for some) invokes connotations of an empowered sexually aggressive female. I would ague that this idea is echoed in the most recent Irma Vep film where Maggie Chung functions as a sexual object for both male and female characters.
March 23rd, 2007 at 12:08 pm
My question was partially covered by Jon’s presentation, but I will post it anyways. In the formulation of the early female stars, there is much discussion about these stars being feminine or masculine. However, RW Connell points out that gender is not the result of simply alluding to static concepts, but rather articulating gendered relations along the lines of power, symbolism, class, emotions and so on. If one utilizes this formulation what is the picture of masculinity and femininity in the performance of these stars?
May 6th, 2007 at 9:46 pm
Butler writes that the “rhythm of deferred resolution” allows antagonist Vep to “roam through multiple episodes.” Butler posits that the infusion of liberty to Vep’s character is demonstrated through this propulsion through the series – but isn’t this ‘dangerous’ female agency an ungendered characteristic of the serial supervillain? Consider Lang’s Dr. Mabuse, Doyle’s Moriarty, Dr. Phibes – while it is certainly telling that Irma Vep finally meets her end at the hands of another woman after roaming “at liberty” through the series, her importance as a public female criminal, is on some level undermined by this reading of her freedom/agency as an enactment of feminine scopophilic desire.
November 26th, 2007 at 3:22 pm
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