Whilst critics continue to dispute the categorization of filmic Noir, the very texts that spawned this filmic (r)evolution have been largely dismissed as predictable ‘junk’ for the plebian masses, unspectacular in their normalcy as standard Modernist works. So I wonder: what is it that makes these texts so plain and ordinary, and so Modernist that they require no further attention? Furthermore, in aligning these texts with one particular school (‘Modernism’), are we not limiting their potential to convey a marked unique or progressive ideology?
As a Cultural Studies student, my first encounter with Sallie McFague’s article was jarring: her eco-feminist metaphorical approach to theology is somewhat unexpected to those unfamiliar with Religious Studies. Yet I suppose I have misjudged much of this field of study by unfairly coming to expect either wholly traditional or wholly radical claims. McFague’s approach, however, seems relatively moderate and reasonable in all its assertions, and its neo-Derridian deconstruction had my inner cultural analyst bursting with excitement. Aching to break away from the patriarchical tyranny of classical Christian theology, she is committed to a drastic reconstruction of traditional Christian dogma.