SCREENING GENDER IDENTITIES AND OPHELIA: VICTIMHOOD AND FEMINISM

Alexa Alice Joubin

Resumo


Shakespeare’s Ophelia is an iconic character with conflicting myths. She is both an innocent “rose of May” and a sexually aware singer in act 4. Both her lyric sufferings and her suicide-as-resistance to the patriarchy enabled contrasting interpretations. Asian directors leverage Shakespeare’s own propensity to undermine dominant ideologies of gender in their effort to renew Asian performance traditions. With case studies of three Hamlet films: Haider (India, 2004), The King and the Clown (South Korea, 2005), and Prince of the Himalayas (Tibet, 2006), this article examines how Asian films negotiate ideas of Ophelia as an iconic victim and a feminist voice.

Keywords: Ophelia. Appropriation. Asian cinema. Bollywood. Feminism.

 

DOI: 10.5935/1679-5520.20190001


Referências


BACHELARD, Gaston. L'eau et les rêves; essai sur l'imagination de la matière. Paris: J. Corti, 1942.

BENNETT, Susan. Performing Nostalgia: Shifting Shakespeare and the Contemporary Past. London: Routledge, 1996.

CHESS, Simone. “Trans Residue: Nonbinary Affect and Boy Actors’ Adult Careers.” Shakespeare Association of America annual meeting, Washington, D.C., April 2019.

CHOW, Rey. Woman and Chinese Modernity: The Politics of Reading Between West and East. Minneapolis: University of Minnesota Press, 1991.

HAYAKAWA, S. I., “What Does It Mean to Be Creative?” Through the Communication Barrier, ed. Arthur Chandler. New York: Harper & Row, 1979.

JAMESON, Fredric. Allegory and Ideology. London: Verso, 2019.

LANIER, Douglas. Shakespeare and Modern Popular Culture. Oxford: Oxford University Press, 2002.

JOON-IK, Lee (Dir.). The King and the Clown (Wang-ui namja). South Korea: Eagle Pictures, 2005.

BHARDWAJ, Vishal (Dir.). Haider. UTV Motion Pictures, India, 2014.

DOI: 10.5935/1679-5520.20190001


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Este trabalho está licenciado sob uma Licença Creative Commons Attribution 3.0 .