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Women’s time and the cinema of Marleen Gorris
journal contribution
posted on 2023-06-10, 02:45 authored by Sue ThornhamThis article examines the cinema of Dutch feminist filmmaker Marleen Gorris in the light of Julia Kristeva’s concept of Women’s Time’ and of more recent attempts to conceptualise a temporality that is lived ‘in the feminine’ but is not, as Kristeva’s is, either outside historical time – as cyclic and/or monumental – or aligned to the repetitive drudgery of domestic labour. Drawing on Lisa Baraitser’s (2017) concept of ‘unbecoming time’, a time that ‘will not unfold’ but is lived as endurance, as ‘staying beside others’, and as care, it argues that Gorris’s films seek to depict such a temporality. The article first explores the shifting engagements of feminist theory with concepts of time and the relationship of these to ideas of subjectivity and narrative, in particular cinematic narrative. It then examines the cinema of Marleen Gorris in the light of these concepts, focusing on three of her films that span a twenty-five year period: her second film, Broken Mirrors (1984); Antonia’s Line (1995), her fourth film and winner of the 1996 Oscar for Best Foreign Language Film; and her most recent and possibly last film, Within the Whirlwind (2009). It gives most attention to Within the Whirlwind. In many ways Gorris’s most ambitious film, it is also her least discussed, and of her films, the one that focuses most directly on historical time.
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- Published
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- Published version
Journal
Feminist TheoryISSN
1464-7001Publisher
SAGE PublicationsExternal DOI
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1-7Department affiliated with
- Media and Film Publications
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- Yes
Peer reviewed?
- Yes
Legacy Posted Date
2022-02-28First Open Access (FOA) Date
2022-02-28First Compliant Deposit (FCD) Date
2022-02-28Usage metrics
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