School of Culture and Communication - Research Publications

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Subject: gender × Type: Book Chapter ×

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    Baby bitches from hell: monstrous little women in film
    CREED, BARBARA (Auckland Art Gallery Toi o Tāmaki, 2005)
    The Surrealists were fascinated by what they perceived as the dual nature of the little girl, her propensity for innocence and evil. This theme has also proven an enduring one in the history of the cinema and provided the basis for many acclaimed films from The Innocents to Lolita. The view of the female child as particularly close to the non-material world of fantasy and the imagination was central to the beliefs of the Surrealists. They regarded childhood as "the privileged age in which imaginative faculties were still à l’état sauvage – sensitive to all kinds of impressions and associations which education would systematically 'correct'". "Dissecting mystery is like violating a child", Bunuel was fond of saying.' In the 1924 Manifesto, Breton claimed, "The spirit which takes the plunge into Surrealism exultantly relives the best of its childhood."
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    The flapper's ontological ambivalence: prosthetic visualities, the feminine and modernity
    CONOR, LIZ (Department of History, University of Melbourne, 1997)
    In this article, I want to discuss modernity's particular scopic conditions through the concept of prosthetic visualities – or vision extended through industrialised and popularised communication technologies – and their cultural attachment to the feminine. While these visual forms were characteristic of the shared experiences of modernity throughout Western nations, through both its modes of production and modes of self-representation, I focus on the particular meanings these assumed in Australia – for example with its anxieties about national boundaries projected onto the feminine – while retaining a view of modernity's common perceptual field. I hope to set out the possible relationship of women to the visual conditions as mobile spectacles and as subjects who acted through appearing. My argument is that appearing was constructed as a subject position for some women, particularly young, white women, through the conditions of their visibility in modernity.