Post-Modern Tremblings

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?

Dita and The Darkness: Desperately Seeking Gaze

Another classic ‘chicken and egg’ question (that of content versus context): what determines a music video’s classification, its narrative, its style, its form? Do the technical specifications of its projection on TV override a music video’s cinematic construction? Is it true, as Marshall McLuhan so famously proclaimed, that “the medium is the message‿? While a text-based analysis of their narrative and stylistic elements in videos by Madonna and The Darkness reveals deliberate crafting as mini- (or perhaps art-) films, an audience-based analysis, on the other hand, exposes a televisual likeness. The music video, then, seems a film caught in a TV’s body, a ‘glanced’ production that so desperately desires to be ‘gazed’.

Reagan-inspired Dystopia and the Impediment of Human Freedom

While not intended as realistic or plausible predictions, these dystopian texts seek to expose extremist attitudes (such as radical conservatism, religiosity, or technological reliance) as fundamentally threatening to human nature and individualism. Dystopia, then, can be understood as a locale for the constant impediment of human freedom, maintained by a regime’s oppressive control of technology, gender and ideology.

Oozing Performance: Male Bodily Deviance in “Queen Margot”

If corporeality is the root of all human subjectivity, one may wonder about the performativity of non-normative bodies. It seems as though only Jeffords’ species of “hard” bodies is included in the canon of male bodily performativity, so what do non-hard, “soft” male bodies perform? A brief analysis of the character of King Charles IV in 1994’s “La Reine Margot” (“Queen Margot”) reveals a secondary, if less common, type of male performativity: that of the fluid and unstable “soft” man.