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  1. Screaming through the century : the female voice as cathartic/transformative force, from Berg's Lulu to Tykwer's Run Lola Run


    URL/Identifizierer http://www.forumjournal.org/article/view/563
    QuellenartElektronische Volltexte & Multimedia>>Aufsätze aus Zeitschriften / Sammelbänden>>
    UrheberMacmillan, Maree
    Verleger University <Edinburgh>
    Veröffentlichungsdatum2006
    Umfang 14 S.
    Schlagworte FWFilmtheorie; Filmsprache -> Film Sprache
    Freie Schlagworte FW Lulu; Lola rennt
    Beschreibung "Both Berg's opera Lulu, deriving from Wedekind's fin-de-si├Ęcle Lulu plays, and Tykwer's end-of-millennium film Run Lola Run (Lola rennt), culminate in an ear-splitting scream. However, while Lulu screams in agony at the thrust of Jack the Ripper's knife, Lola uses the power of her voice to defy the laws of chance and save the life of her boyfriend. This paper examines how Lulu's operatic scream of death is transformed into what appears to be Lola's cathartic scream of empowerment in Run Lola Run, by situating Berg's and Tykwer's texts as part of a cluster of interconnected cinematic, literary and musical Lulu/Lola works that span the twentieth century. All manifest major aspects of the Pandora myth and most feature a cabaret performer as central female, the best known of whom is Marlene Dietrich's Lola-Lola in Sternberg's The Blue Angel. My reading, which draws on Julia Kristeva's notion of intertextuality and Judith Butler's concept of identity and gender as performatively constructed, multiple and even "contradictory", explores an idea of Pandora that goes beyond her traditional casting as early femme fatale to incorporate the "hope" left at the bottom of Pandora's "box". It shows that Pandora's chaos can be read as a cathartic force that is not always destructive, but may also be regenerative, liberating, and even redemptive. In tracing the evolution across the century of the transformative role of the female voice in these works, I suggest that even Dietrich's Lola-Lola, traditionally interpreted as femme fatale, can be seen as offering hope of a fuller life to Sternberg's male protagonist. I investigate whether or not more recent portrayals of Lulu/Lola/Pandora figures as redemptive, suggest that Pandora's chaos is assuming a more positive guise in at least some of its manifestations in popular culture as we proceed into the twenty-first century." (Information des Anbieters)
    Inhaltsverzeichnis/StrukturIntroduction; The Pandora myth; Theoretical approach; The Lulu/Lola/Pandora texts; Works Cited
    Themen FWFilm>>Theorie, Methodik, Didaktik; Film>>Einzelne Filme (Sekundärliteratur)
    RVK FWAP 45000; AP 45100; AP 45200; AP 45400; AP 59800
    DDC FWPhilosophie, Theorie, Ästhetik; Historische, geografische, personenbezogene Behandlung
    geographischer BezugBehandlung nach Gebieten, Regionen, Orten im Allgemeinen>>
    zeitlicher Bezugzeitlich übergreifend / unabhängig>>
    SpracheEnglisch
    Zugriffsrechtefreier Zugang
    Anmerkungen zur RessourceForum: University of Edinburgh Postgraduate Journal of Culture and the Arts, Summer 2006