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.In HANNIBAL two other characters experiencebody as it attaches itself to Kane (JOHN HURT).In the retributive justice from Hannibal Lecter, on account of theirfamous chest-buster scene, the male body is repositioned to free-range rudeness i.e., their corruption.Inspector Pazzicorrespond to the female body: the male mouth becomes the (GIANCARLO GIANNINI), who is hanged by the neckvagina, his chest the womb.The gender difference separat- from a window of the Palazzo Vecchio in Florence whileing male from female is broken down, as all humanity is being disemboweled; and Krendler (RAY LIOTTA), who hasfemale (a womb) in the face of the alien.his brain surgically removed and subsequently eats part ofThe body imagery also resurfaces in the character of it fried in butter.Ash (IAN HOLM), the android constructed by the Com- WHITE SQUALL takes an opposite view by celebratingpany to supervise the crew s activities.Ximeno Gallardo and the male body as the young crew lands on the GalapagosC.Jason Smith describe him as completely feminized in the Islands, stripped to the waist.They are representatives ofsense that he is created, defined, controlled, and deprived purity, of innocence; the complete antithesis of the Spanishof power.this.is represented by his grotesque, exposed, colonists in 1492: CONQUEST OF PARADISE.THELMA &open body a disgusting mass of white fluid and spaghetti- LOUISE shows its protagonists operating within a world inlike entrails festooned with clear grape-sized modules. which questions of gender identity are played out throughParker s (YAPHET KOTTO s) revulsion at Ash s body sug- the masculinization of the female body.Drawing on a longgests not only the corruption of the Company but also history of representations of male self-sufficiency, the filmParker s own potential feminization.By contrast, the alien traces the characters developing ability to handle a gun.an object of Ash s consistent admiration represents what Thelma (GEENA DAVIS) can barely bring herself to handleAsh would like to be and also is the ultimate expression of her gun, a gift from husband Darryl (CHRISTOPHER BODY OF LIES 49 %McDONALD) at the beginning of the film picking it up self-esteem.With no educational attainments to speak ofwith an expression of distaste in a rather girlish fashion.and without a proper job, the only commodity Maggie hasAs the narrative progresses, she acquires both physical coor- to secure self-advancement is her body.Maggie herself isdination, which denotes self-possession, and the ability to aware of her existence as a prostitute in all but name whenshoot straight.When the two women shoot out the oil she demands of her sister Rose (TONI COLLETTE): I wanttanker, they happily compliment one another on their aim.fifty bucks.That s the going rate, isn t it? As the filmIn terms of the body, they have acquired the conventionally unfolds, however, so Maggie gradually changes character: masculine characteristics that should prompt us to reflect learning how to read poetry out loud and finding a suitableon the gendered identity of the active heroine.niche for herself as personal shopper to the elderly residentsIn G.I.JANE, the notion of the body and gender iden- of her grandmother Ella s (SHIRLEY MACLAINE s) retire-tity surfaces through the character of Jordan O Neil (DEMI ment home.The idea of the body is no longer a commodityMOORE).Moore s work in the 1990s was characterized by for her but something to be elegantly clothed.This explainsa series of self-masquerades, transformative acts through her willingness to choose a suitable wedding dress for herwhich she managed to bring off a curiously paradoxical sister, because she is good at this. coup: like the obsessively self-transformative Madonna, dis-Referencesguising, masking, or completely making herself over onlyCarol Moore and Geoff Miles, Explorations, Prosthetics, Sacrifice:served to clarify Moore s star image, a singular sameness par-Phantasies of the Maternal Body in the Alien Trilogy, CineAction!adoxically constructed through the vacillations of physical30 (December 1992): 54 62; Ximeno Gallardo and C.Jason Smith,difference.Moore s corporeal shape shifting was predicated Men, Women and an Alien Baby, Alien Woman: The Making ofon a peculiarly late twentieth-century notion of the body asLieut [ Pobierz całość w formacie PDF ]
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.In HANNIBAL two other characters experiencebody as it attaches itself to Kane (JOHN HURT).In the retributive justice from Hannibal Lecter, on account of theirfamous chest-buster scene, the male body is repositioned to free-range rudeness i.e., their corruption.Inspector Pazzicorrespond to the female body: the male mouth becomes the (GIANCARLO GIANNINI), who is hanged by the neckvagina, his chest the womb.The gender difference separat- from a window of the Palazzo Vecchio in Florence whileing male from female is broken down, as all humanity is being disemboweled; and Krendler (RAY LIOTTA), who hasfemale (a womb) in the face of the alien.his brain surgically removed and subsequently eats part ofThe body imagery also resurfaces in the character of it fried in butter.Ash (IAN HOLM), the android constructed by the Com- WHITE SQUALL takes an opposite view by celebratingpany to supervise the crew s activities.Ximeno Gallardo and the male body as the young crew lands on the GalapagosC.Jason Smith describe him as completely feminized in the Islands, stripped to the waist.They are representatives ofsense that he is created, defined, controlled, and deprived purity, of innocence; the complete antithesis of the Spanishof power.this.is represented by his grotesque, exposed, colonists in 1492: CONQUEST OF PARADISE.THELMA &open body a disgusting mass of white fluid and spaghetti- LOUISE shows its protagonists operating within a world inlike entrails festooned with clear grape-sized modules. which questions of gender identity are played out throughParker s (YAPHET KOTTO s) revulsion at Ash s body sug- the masculinization of the female body.Drawing on a longgests not only the corruption of the Company but also history of representations of male self-sufficiency, the filmParker s own potential feminization.By contrast, the alien traces the characters developing ability to handle a gun.an object of Ash s consistent admiration represents what Thelma (GEENA DAVIS) can barely bring herself to handleAsh would like to be and also is the ultimate expression of her gun, a gift from husband Darryl (CHRISTOPHER BODY OF LIES 49 %McDONALD) at the beginning of the film picking it up self-esteem.With no educational attainments to speak ofwith an expression of distaste in a rather girlish fashion.and without a proper job, the only commodity Maggie hasAs the narrative progresses, she acquires both physical coor- to secure self-advancement is her body.Maggie herself isdination, which denotes self-possession, and the ability to aware of her existence as a prostitute in all but name whenshoot straight.When the two women shoot out the oil she demands of her sister Rose (TONI COLLETTE): I wanttanker, they happily compliment one another on their aim.fifty bucks.That s the going rate, isn t it? As the filmIn terms of the body, they have acquired the conventionally unfolds, however, so Maggie gradually changes character: masculine characteristics that should prompt us to reflect learning how to read poetry out loud and finding a suitableon the gendered identity of the active heroine.niche for herself as personal shopper to the elderly residentsIn G.I.JANE, the notion of the body and gender iden- of her grandmother Ella s (SHIRLEY MACLAINE s) retire-tity surfaces through the character of Jordan O Neil (DEMI ment home.The idea of the body is no longer a commodityMOORE).Moore s work in the 1990s was characterized by for her but something to be elegantly clothed.This explainsa series of self-masquerades, transformative acts through her willingness to choose a suitable wedding dress for herwhich she managed to bring off a curiously paradoxical sister, because she is good at this. coup: like the obsessively self-transformative Madonna, dis-Referencesguising, masking, or completely making herself over onlyCarol Moore and Geoff Miles, Explorations, Prosthetics, Sacrifice:served to clarify Moore s star image, a singular sameness par-Phantasies of the Maternal Body in the Alien Trilogy, CineAction!adoxically constructed through the vacillations of physical30 (December 1992): 54 62; Ximeno Gallardo and C.Jason Smith,difference.Moore s corporeal shape shifting was predicated Men, Women and an Alien Baby, Alien Woman: The Making ofon a peculiarly late twentieth-century notion of the body asLieut [ Pobierz całość w formacie PDF ]