포스트페미니즘 영화에 나타난 여성의 몸: 대상에서 주체로 = The Representation of Woman’s Body in Postfeminist Cinema: From an Object to a Subject

다국어 초록 (Multilingual Abstract)

Since the advent of the feminist film criticism around the 1970s, the approach to women’s image in Hollywood film has been to regard them as victims, fetish, or femmes fatales. Laura Mulvey’s influential essay “Visual Pleasure and the Narrative Cinema” contributed to the understanding of women’s body as being objectified by male gaze. However, third-wave feminism, which inherited the achievement of the politically active second-wave feminism, views femininity and sexuality as empowering and expresses its identity by returning to femininity which the previous generation thought should be suppressed in order not to be exploited by male desire. This embracing of femininity gave birth to a film genre called chick flick or girly film featuring heroines who enjoy consumer culture purchasing designer clothes, expensive shoes, and chic accessories.
The heroine in Legally Blonde overcomes the prejudice against the stereotype of dumb blonde by achieving academic excellence and successfully defending the accused in the courtroom drawing upon her expertise in fashion and makeup. Without sacrificing the feminine values, Elle chooses to do what she enjoys doing and proves herself to be a postfeminist heroine. Jilted by her boyfriend, she actively take the subjective position by proving herself to be the possessor of both femininity and intellect.
Unlike traditional films, the female character’s body is not the object of male gaze but the object of her female boss in The Devil Wears Prada. Andy gets the recognition when she is transformed into a capable assistant carrying out every whimsical and tyrannous orders from her boss. Set in the center of New York City, this movie shows characters using fashion as a means of expressing one’s identity and femininity. After achieving success in getting the recognition of her boss, Andy goes through internal as well as external transformation and becomes an autonomous character who chooses what she really wants to do.

참고문헌 (Reference)

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6 David Frankel, "The Devil Wears Prada"

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10 Robert Luketic, "Legally Blonde"

11 Ebert, Roger, "Legally Blonde"

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