The Femme Fatale: Images, Histories, Contexts by Helen Hanson, Catherine O'Rawe

By Helen Hanson, Catherine O'Rawe

Those essays hint the femme fatale throughout literature, visible tradition and cinema, exploring the ways that deadly femininity has been imagined in several cultural contexts and old epochs, and relocating from legendary ladies similar to Eve, Medusa and the Sirens through old figures corresponding to Mata Hari to deadly ladies in modern cinema.

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The Femme Fatale: Images, Histories, Contexts

Those essays hint the femme fatale throughout literature, visible tradition and cinema, exploring the ways that deadly femininity has been imagined in numerous cultural contexts and ancient epochs, and relocating from legendary girls corresponding to Eve, Medusa and the Sirens through old figures resembling Mata Hari to deadly ladies in modern cinema.

Extra resources for The Femme Fatale: Images, Histories, Contexts

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120–35. Ettinger, B. (1992), ‘Matrix and Metramorphosis’, in G. ), Trouble in the Archives, special issue of differences, 4:3, pp. 176–208. Ettinger, B. (2001), ‘Wit(h)nessing Trauma and the Matrixial Gaze: From Phantasm to Trauma, from Phallic Structure to Matrixial Sphere’, Parallax, 7:4, 89–114. Ettinger, E. (2006), The Matrixial Borderspace, ed. B. Massumi, Minneapolis: University of Minnesota Press. Freud, S. (1977), ‘Fragment of an Analysis of a Case of Hysteria [‘Dora’], Penguin Freud Library Volume 8, Case Histories I, London: Penguin Books.

According to Ackbar Abbas, reading Adorno and Horkheimer on this tiny episode of the Sirens, the danger the Sirens represent is that of fascination – the fascination of the enthralling poetry of the epic, and of the artwork itself, and especially the cinematic, which will, for the first time, through its unique technologies, combine music, sound, voice, song and image, with the duration of narrativity that enthralls its de-subjected subjects in its momentary, enveloping imaginary spell (Abbas 1999).

Death – fact or threat – is the shadow hanging over Eve’s actions. God says that Adam and Eve will die if they eat the fruit; the serpent says they will not die. Let us collect all the statements, some of them contradictory, made by various characters (including the narrator) about what will happen, or does happen, upon consumption of the fruit. 1. 2. 3. 4. 5. 6. 7. Adam and Eve will die. (God) Adam and Eve will not die. (Serpent) Their eyes will be opened. (Serpent) Their eyes were opened. (Narrator) They will know good and evil.

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