Spiste horisonter og Tre piger og en gris: En komparativ kritik af dansk surrealistisk og feministisk avantgardefilm
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Spiste horisonter og Tre piger og en gris : En komparativ kritik af dansk surrealistisk og feministisk avantgardefilm. / Vilslev, Birgitte Thorsen.
I: K & K : kultur og klasse : kritik og kulturanalyse, Bind 47, Nr. 127, 2019, s. 173-194.Publikation: Bidrag til tidsskrift › Tidsskriftartikel › Forskning › fagfællebedømt
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TY - JOUR
T1 - Spiste horisonter og Tre piger og en gris
T2 - En komparativ kritik af dansk surrealistisk og feministisk avantgardefilm
AU - Vilslev, Birgitte Thorsen
PY - 2019
Y1 - 2019
N2 - This article compares the sexual differences in two Danish avant-garde films. It suggests that the Danish feminist, collective film Three Girls and a Pig from 1971 with an actual castration of a young pig established a deconstruction of a phallic economy in line with the theory of the French feminist linguist Luce Irigaray. In comparison with the artist Wilhelm Freddie’s and filmmaker Jørgen Roos’ surrealist film, Eaten Horizons from 1950, this deconstruction may contribute to a feminist reinterpretation of the latter’s sadist and cannibalistic fetichization of the female body. Furthermore, the comparison sheds light on formal and aesthetic strategies, such as the surrealist magic and illusionism contrasted to feminist bodily realism, and the transgressive potentials of the bodily rituals in the two films.
AB - This article compares the sexual differences in two Danish avant-garde films. It suggests that the Danish feminist, collective film Three Girls and a Pig from 1971 with an actual castration of a young pig established a deconstruction of a phallic economy in line with the theory of the French feminist linguist Luce Irigaray. In comparison with the artist Wilhelm Freddie’s and filmmaker Jørgen Roos’ surrealist film, Eaten Horizons from 1950, this deconstruction may contribute to a feminist reinterpretation of the latter’s sadist and cannibalistic fetichization of the female body. Furthermore, the comparison sheds light on formal and aesthetic strategies, such as the surrealist magic and illusionism contrasted to feminist bodily realism, and the transgressive potentials of the bodily rituals in the two films.
U2 - 10.7146/kok.v47i127.114749
DO - 10.7146/kok.v47i127.114749
M3 - Tidsskriftartikel
VL - 47
SP - 173
EP - 194
JO - K & K
JF - K & K
SN - 0905-6998
IS - 127
ER -
ID: 334268551