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PHYLLIS, CORA, LAURA, GILDA... WOMAN AS AN OBJECT IN FILM NOIR (Phyllis, Cora, Laura, Gilda... Kobieta jako przedmiot w film noir)

100%
Wlodek P.
Kwartalnik Filmowy
|
2011
|
issue 74
94-106
EN
Is a woman in film noir the subject or the object of the film? Given the complexity of film noir, found for example in the plurality of storyline patters, types of characters - both male and female, it is not easy to give a straightforward answer to this question. The analysis of four films (Double Indemnity, The Postman Always Rings Twice, Gilda, Laura), in which the screen presence of the heroines is defined not just through their place in the storyline and the use of erotic imagery, but also through the presence of meaningful objects (bracelet, lipstick, glove), suggests that there were certain strategies employed by Hollywood. These strategies were the result of the atmosphere of the times in which the films were made. It was in this context that the film makers wanted to create a strong and independent femme fatale and place her within social context, which the femme fatale found unacceptable. Many of the actresses that played femmes fatales gained status of a movie icon. Their expressiveness was such, that it was not possible to forget their subversive and rebellious character.
2

Dekadentni erotismus a vražda. Obraz fatalni ženy v romanu Miroslava Krleži Povratak Filipa Latinovicza

75%
Jensterle-Doležalová A.
Slavica Wratislaviensia
|
2010
|
vol. 152
43-52
EN
Miroslav Krleža (1893–1981) in his novel Povratak Filipa Latinovicza (1932) formed the myth of the femme fatale in the picture of two women: Regina and Bobočka. Women are the main obsession of the hero, the painter Filip, who returns home after twenty-three years to find lost sources of his identity and lost inspiration for his art. The novel – story of Filip’s life – regarding the problem that women are just objects of desire, is divided into two parts: the trauma of Regina belongs to his youth (first part of the novel) and affects his present; Bobočka is the frustration in his present. Women with no clear identity are mainly presented with the body, they represent the irrational world and mystery and they explore their body to use men and improve their position in society. Eroticism is the place of Evil. In this sense especially bizarre is Bobočka, with whom Filip falls desperately in love: she ruined men in the past and she does the same to present lovers. Filip plays the role of an observer: he experiences especially bizarre erotic scene in a threesome between Bobočka, her lover Kyriales and her man Baločanski. The grotesque, obscene scene is the place of modern hell, where the hero is punished by looking at his beloved with two other men. The end is very characteristic and amplifies the love by – connection death. Baločanski murders Bobočka, the solution of that decadent eroticism is Death. This figures also as a punishment for Bobočka in the sense of Christian philosophy: she was a vampire for the men and Baločanki murders her in the same grotesque manner. This novel was very modern in the literature of Central Europe at the beginning of the twentieth Century. Very modern is the theme of eroticism, its connection with the evil and death, even though the presentation of the woman follows the traditional stereotype of the prostitute. Eroticism in the broken mirror – in the schizophrenic perspective of sensible narrator – expresses the importance of Freud’s psychoanalysis.
3
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Film noir – repetytorium (zamiast wstępu)

63%
Bobowski S.
Studia Filmoznawcze
|
2010
|
vol. 31
5-20
EN
The author in his article reminds the fundamental facts connected with the phenomenon of film noir. He writes about the moment of discovering it by French critics, about its topics, motives, heroes, style and about esthetical, i.e. literary and filmic, roots of the great stream of the American cinema. He underlies its connection with gangster genre, German expressionism, French poetical realism, and with Orson Welles’s Citizen Kane. As far as literature is concerned, the author points out the strong influence of American hard-boiled literature over film noir. Other welknown cultural and social phenomena linked with film noir reminded by Sławomir Bobowski, are: philosophical existentialism, popularisation of psychoanalysis and – first of all – the specific social situation of America before and after the Second World War, the part of which was, among other things, the new condition of women which made the motif of femme fatale so often present in noir movies.
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