Cultural Institution Blesok • Established 1998
New in Blesok

the art is inside

ISSN 1409-6900 | UDK 82+7     Blesok no. 33 | volume VI | July-August, 2003



                     Peer-reviewed journal
Blesok no. 33July-August, 2003
Gallery Reviews

Amelie Poulain:

Saint, Waitress and Probably – a Woman
(an attempt for a feminist approach on the feature film Le Fabuleux Destin de Amelie Poulain)

p. 1
Žarko Kujundžiski

    The author of the feature film – the Oscar nominee – Le Fabuleux Destin d' Amelie Poulain (The Unusual Destiny of Amelie Poulain), Jean-Pierre Jeneux, is one of the most recognizable French film directors (City of Lost Children, Delicatessen Store, House of Lost Children). The co-scenarist of the project is another French guy – Guillaume Lorain. So, the both authors are – men. That's why this feministic approach on the feature film The Unusual Destiny of Amelie Poulain has in sight, of course, the conclusions of the different tendencies within the frames of this method (radical feminism, anarchistic feminist critic, the genocritic i.e. critic that is interested in the feminine letter/writing – ecriture feminine, then – the analysis of the woman as a writer and of the woman as a reader, etc.), but this text's main obsession is the presenting way of the central female character in The Unusual Destiny of Amelie Poulain.

James Bond against Joan of Arc

    Putting the main characters' names in the film title – is often practice. Recently, we saw Jerry McGuire, Barry Lyndon, Billie Elliot, and Blade, Rambo, Rocky… What's characteristic for these titles? All those refer onto the male characters.
    Really, the case when the center of the film story, or the active principle of the story is the male character – is much more often case (even if his name isn't in the film title), especially in the action movies (the Die Hard and the James Bond serial) and in the thrillers (Seven, Usual Suspects, and the most famous exception is The Silence of the Lambs). In such case, the female characters are objectified (I wonder how Bond isn't sick of swinging partners like socks) or their semantic level is extremely reduced down to their physical existence, on their pure corporal elements – their body (I can't remember even one of the Bruce Willis' partners while he was “dying hard”, but I'm more than sure that none of them had rotten teeth or bent nose).

"Blesok" editions 01-93 are also available at CEEOL web site.

By purchasing our titles, you are directly supporting our activities. Thank you!


Visit us on Facebook Follow us on Twitter Follow us on Google+