“So We Will Go Bad”: Cheekiness, Laughter, Film

Parvulescu, Anca

doi:10.1215/02705346-2006-005

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“…They are not sisters, mothers, or wives, and their ties to others remain unaccounted for. The lack of own names can be understood as both an “archetypal dismissal” of the reduction of women to interchangeable objects (Newland, 2017) and a flirtation with the two Marys of Christianity: the virgin and the whore that together become one (Parvulescu, 2006). Obviously troubled, yet in a seemingly detached manner, the girls decide to “go bad” (or in some translations “spoiled”) as they believe the world to be bad too.…”

Section: A Play With Chytilová's Cinematic Expressionmentioning

confidence: 99%

“…More recently, Daisies has been interpreted as a feminist expression and focus has been placed on how the Maries subvert patriarchal orders by “rewriting” their gendered selves (see Lim, 2001) through transgressive expressions of femininity (e.g., Bass, 2013; Newland, 2017; Parvulescu, 2006). Instead of focusing on what they represent morally, socially, and politically, these readings have explored their oscillation between subject positions and ideals, and how they thereby “trouble” orders grounded on demarcation (Stephenson, 2018).…”

Section: Introductionmentioning

confidence: 99%

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Girls gone bad: An essay on “Existence” in Chytilová's Daisies

Wickström

2021

Gender Work & Organization

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This essay re‐examines the subversive potential of Vera Chytilová's film Daisies and elaborates on its possibilities for exploring (feminine) existence as difference in relation to work, (re)production, and consumption. Drawing on the work of Luce Irigaray and critical fem(me)ninity studies, it theorizes fem(me)nine existence as multiple and ambiguous, and explores its possible materialization through a poetic “re‐representation” of the film. Through the ambiguous becoming of the film's protagonists, the Maries, the tension between the “undoing” patriarchal of orders of exchange and their tenacity is discussed in relation to the emergence of non‐patriarchal forms of organizing. The essay contributes to organizational research on difference by introducing a critical fem(me)nine lens and by directing attention towards the struggle between existing only for and through an Other – and not existing at all. This allows for an examination of the disruptive potential of difference while further accounting for possible tensions with regards to its materialization. It is argued that fem(me) theorizations of film can be useful for exploring such matters differently as they open up ways to playfully and creative accentuate ambiguity and multiplicity rather than reducing “it” to sameness.

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Section: A Play With Chytilová's Cinematic Expressionmentioning

confidence: 99%