![]() I look at the work of Eija-Liisa Ahtila as an example of an artist/filmmaker working in both the gallery and the cinema. Peter Greenaway's idea of the audience performing the editing will be examined here. 'Body Cuts' will foreground the recent phenomena of film and video moving into the gallery space, and the resultant changed relationship of the viewer with such works. Mark's notion of 'haptic cinema' and relate it to my own concept of film-ecriture feminine. While directors such as Jane Campion have eroticized sex on screen, others such as Catherine Breillat have maintained a natural aesthetic not dissimilar to pornography. In today's era of post-Mulveyism, in the hands of the woman director the gaze is female. A number of woman feature filmmakers who have also addressed women's sexuality will be studied in 'Touch'. I will follow with a comparison of contemporary woman artists working in this subject area: Tracey Emin and Zoe Leonard. The performance art of woman working in the 1960/70s – Valie Export, Hannah Wilke, Carolee Schneemann – will be examined in relation to their highlighting of the female sexual part. 'Crotch' will look at woman artists who have sought to counter negative attitudes towards women with regard to sexuality. These works will be surveyed in the context of the monstrous-feminine. I will follow an analysis of these three paintings with an examination of two cinematic works that pertain to the incubus: Rosemary's Baby (Roman Polanski, 1968), The Entity (Sidney J. In 'The Haunting', I will relate the connection between the incubus and the monstrous-feminine, concentrating first on three key historical paintings: The Nightmare (Henri Fuseli, 1781), Danaë (Rembrandt, 1636), Danaë (Gustav Klimt, 1907). Trick of the Light endeavours to put forward a viewpoint of the incubus experience with regard to female sexuality and subjectivity. Research into the topic of the incubus as it has been represented in art and film, both historical and contemporary, reveals that in the main these works have been from the male perspective. In summary, this thesis contributes to knowledge in three ways: by providing the first detailed study of walking in Arnold’s oeuvre by proposing the figure of the haptic flâneuse as a way of thinking about the experiences of women who walk in marginalised spaces and by demonstrating how a chronotopic reading of walking scenes elevates them from a narrative means to an end to significant film elements in themselves.Trick of the Light is a video installation essay that relates the story of the incubus in the form of a multiple screen and sound installation. In this way, the walking chronotope acts as a lens through which Arnold’s work can be interpreted. The conclusions drawn show how walking scenes provide opportunities for female agency, and that such journeys function in excess of their narrative significance, creating an interpretative space to examine the structural, aesthetic, and contextual elements of the films. From this, a new way of interpreting women and walking emerges, and the term ‘haptic flâneuse’ is proposed to describe women’s sensory investigations, explorations, and encounters with the new urban landscape. Mark’s theories of haptic cinema to examine Arnold’s visual style, combined with a reading of Michel de Certeau whose work emphasises walking as a form of tactile, urban remapping. ![]() From a feminist perspective, her films are “power-to” narratives (Sutherland and Feltey, 2017) that show how female agency is predicated on emotional, and practical, resilience, and Arnold demonstrates this agency by foregrounding her protagonists’ physical and geographical mobility, using walking as their dominant mode of movement. This is a study of walking as depicted in Arnold’s cinematic output, along with the three short films with which she began her career, all of which focus upon strong female characters living in areas of economic and social deprivation. Whilst previous studies of the cinematic flâneuse are restricted mainly to European and art-house cinema and their middle class protagonists, this thesis focuses attention on less affluent female characters whose walking takes place not in the metropolis but in the edgelands, suburbs, and social housing estates that constitute the contemporary built environment, along with Arnold’s depiction of the harsh rural landscape of nineteenth-century Yorkshire in Wuthering Heights (2011). Furthermore, by examining its chronotopicity, the function of walking as a discrete element is analysed to reveal its narrative, aesthetic, and contextual significance. Using Mikhail Bakhtin’s concept (1988), it demonstrates how walking mobilises a reading of the landscape and the female body that articulates their combined resistance to hegemonic narratives of exclusion and deprivation. Abstract This thesis proposes that the act of walking functions as a dominant chronotope in the work of British filmmaker Andrea Arnold.
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