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Femmes, Filles, and Hommes: Postfeminism and the Fatal(E) Figure

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Femmes, Filles, and Hommes: Postfeminism and the Fatal(e) Figure in Contemporary American Film Noir. Samantha Jane Lindop Bachelor of Arts (Honours), Deakin University, 2010 Master of Psychoanalytic Studies, Deakin University, 2009 Bachelor of Psychology, University of South Australia, 2003 A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of English, Media Studies, and Art History Abstract The femme fatale of North American film noir has attracted considerable attention from feminists, film scholars, and psychoanalytic theorists over the decades. However, despite the large body of scholarly research on the figure, a number of gaps and limitations exist in the field that have been overlooked to date. Firstly, interest in the deadly woman has, for the most part centred on the classic film noir era of the 1940s and1950s and neo-noir of the 1980s and1990s. There is a noticeable lack of scholarly attention to the femme fatale as she appears on screen in the new millennium. Secondly, there is a conspicuous absence of feminist enquiry into the figure through critical engagement with dominant postfeminist discourse. This is despite the fact that postfeminism emerged on the cultural landscape around the same time as the deadly woman regained popularity in neo-noir. The third limitation is that lethal sexuality has been aligned with the femme fatale, meaning other incarnations of the figure, namely the fille fatale and homme fatal have been almost entirely overlooked. This is particularly true of the fatal man. Though the presence of this character is recognised in noir scholarship, very little analysis of the figure has been done, especially from a socio-cultural perspective that takes account of historical and cultural factors rather than offering predominantly psychoanalytic interpretations. Similarly, while the deadly girl has received some academic attention, this is negligible in relation to the mounting popularity of the figure since the 1990s and the overwhelming centrality of girls in postfeminist popular culture. This project addresses the lack of research on the contemporary and alternative manifestations of the fatale figure in film noir by locating the postmillennial femme fatale, fille fatale, and homme fatal in relation to their historical precursors and in relation to current critical debates about dominant postfeminist discourse. The aim of this is to provide an up-to- date, more sophisticated and inclusive analysis of the character, expanding on both film scholarship on noir and feminist scholarship on postfeminism, subjectivity, and representation. I begin by drawing on the work of noir scholars including Foster Hirsch and Mark Jancovich in order to provide a contextual foundation for this thesis by establishing what constitutes the femme fatale of classic film noir. I also trace the figure back to earlier incarnations of the vamp and the female vampire of Gothic literature with a view to establishing archetypal patterns of portrayal. I then establish what is meant by postfeminism and the ways in which a critical interrogation of dominant postfeminist discourse can add to 2 the field of research on the fatale figure. In the process I engage with theorists such as Angela McRobbie and Yvonne Tasker whose scholarly work is significant to understanding what constitutes postfeminism and the way it interacts with creative mediums such as film. Following this I analyse a number of key English-language cinematic texts produced mainly in North America since 2000 including, but not limited to, Jane Campion’s In the Cut (2003), David Slade’s Hard Candy (2005), Atom Egoyan’s Chloé (2009), and Park Chan-wook’s Stoker (2013), with a view to establishing the various ways that these films engage with, and in some instances, actively critique dominant postfeminist discourse. 3 Declaration by Author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my research higher degree candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the General Award Rules of The University of Queensland, immediately made available for research and study in accordance with the Copyright Act 1968. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis. 4 Publications during candidature Peer-Reviewed Papers Lindop, Samantha. “Postfeminism, Pleasure, and Spectacle in Tarantino’s Kill Bill.” London Film and Media Reader 3. (Spring 2014). Web. Lindop, Samantha. “Postmillennial Cinema and the Avenging Fatale in Sin City, Hard Candy, and Descent.” Scope 26 (October 2013). Web. Lindop, Samantha. “The Homme Fatal and the Subversion of Suspicion in Mr. Brooks and The Killer Inside Me.” Media-Culture 15.1 (2012).Web. Lindop, Samantha. “’Out wiv the old ay plumma?’: The Uncanny Marginalized Wastelands of Memory and Matter in David Cronenberg’s Spider.” Refractory 19 (2011).Web. Lindop, Samantha. “Out of Control: Masculine Crisis and the Aussie Working-Class Male in Suburban Mayhem.” Metro-Magazine 166 (2010): 148–53. Print. Publications included in this thesis Lindop, Samantha. “Postmillennial Cinema and the Avenging Fatale in Sin City, Hard Candy, and Descent.” Scope 26 (October 2013). Web. Incorporated into Chapter Two, Three, and Four. Contributor Statement of Contribution Lindop, Samantha (Candidate) Wrote the paper (100%) Lindop, Samantha. “Out of Control: Masculine Crisis and the Aussie Working-Class Male in Suburban Mayhem.” Metro-Magazine166 (2010): 148–53. Print. 5 Incorporated into Chapter Four. Contributor Statement of Contribution Lindop, Samantha (Candidate) Wrote the paper (100%) Lindop, Samantha. “The Homme Fatal and the Subversion of Suspicion in Mr. Brooks and The Killer Inside Me.” Media-Culture 15.1 (2012).Web. Incorporated into Chapter Five. Contributor Statement of Contribution Lindop, Samantha (Candidate) Wrote the paper (100%) Contributions by others to the thesis No contributions by others. Statement of parts of the thesis submitted to qualify for the award of another degree None. 6 Acknowledgements Foremost I would like to express my deepest appreciation and sincere gratitude to my supervisors Associate Professor Jane Stadler and Dr Anthea Taylor for their ongoing support of my PhD project and for their motivation, patience, and considerable knowledge. Without their guidance and continual direction this dissertation would not have been possible. I would also like to thank Dr Lisa Bode for her feedback and assistance during my candidature. I want to express particular gratitude for the financial support provided through the receipt of an Australian Postgraduate Award, without which the completion of this project would have been extremely difficult. I would like to extend a heartfelt thankyou to Colin and Ruth Kay, and Marie Berry for their ongoing funding of the Helen Kay Scholarship. This valuable bursary has aided my considerably in completing the final stages of my thesis. Further I wish to thank the University of Queensland’s Graduate School for providing me with conference travel funding, enabling me to seek valuable expert opinions about my research from international scholars in my field. I would also like to thank Dr Greg Hainge for organising a travel and accommodation bursary to the Sydney CSAA annual conference, which availed the opportunity for feedback from national academics. Additionally, I want to acknowledge EMSAH’s fantastic administrative staff, in particular Angela Tuohy for her exceptional organisational skills. My parents Sheila and Richard Lindop deserve a special mention for their wonderful support and assistance over recent years. 7 Keywords Postfeminism, film noir, neo-noir, femme fatale, fille fatale, homme fatal. Australian and New Zealand Standard Research Classifications (ANZSRC) ANZSRC code: 190201, Cinema Studies, 70% ANZSRC code: 200212: Screen and Media Culture, 30% Fields of Research (FoR) Classification FoR code: 1902, Film Television and Digital Media, 100% 8 Table of Contents Title ............................................................................................................................................ 1 Abstract ...................................................................................................................................... 2 Preliminary Pages ...................................................................................................................... 4 Table of Contents ......................................................................................................................
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