Parution : Women Who Kill. Gender and Sexuality in Film and Series of the Post-Feminist Era

Women Who Kill explores several lines of inquiry: the female murderer as a figure that destabilizes order; the tension between criminal and victim; the relationship between crime and expression (or the lack thereof); and the paradox whereby a crime can be both an act of destruction and a creative assertion of agency. In doing so, the contributors assess the influence of feminist, queer and gender studies on mainstream television and cinema, notably in the genres (film noir, horror, melodrama) that have received the most critical attention from this perspective. They also analyse the politics of representation by considering these works of fiction in their contexts and addressing some of the ambiguities raised by postfeminism.

The book is structured in three parts: Neo-femmes Fatales; Action Babes and Monstrous Women. Films and series examined include White Men Are Cracking Up (1994); Hit & Miss (2012); Gone Girl (2014); Terminator (1984); The Walking Dead (2010­); Mad Max: Fury Road (2015); Contagion (2011) and Ex Machina(2015) among others.

Table of contents

Series Editor’s Introduction, Angela Smith and Claire Nally
Introduction, Cristelle Maury and David Roche

Part I Neo-Femmes Fatales
Chapter 1 The Femme Fatale of the 1990s Erotic Thriller: A Post-feminist Killer?, Delphine Letort
Chapter 2 The African Femme Fatale: Re-Appropriation of a Mythical Figure in White Men Are Cracking Up (Ngozi Onwurah, 1994), Emilie Herbert
Chapter 3 Transwoman Who Kills: Hit & Miss (Sky Atlantic, 2012), Isabelle Schmitt-Pitiot
Chapter 4 Genre and Gender in Sin City: A Dame to Kill For (Frank Miller and Robert Rodriguez, 2014), Christophe Gelly
Chapter 5 Textbook Femme Fatale, De-eroticised Neo-noir Heroine or Post-Feminist Woman Who Kills? Genre Trouble in Gone Girl (David Fincher, 2014), Cristelle Maury

Part II Action Babes
Chapter 6 From Sarah Connor 2.0 to Sarah Connor 3.0: Women Who Kill in the Terminator Franchise, Marianne Kac-Vergne
Chapter 7 Girls against Women: Contrasting Female Violence in Contemporary Young Adult Dystopias, Adrienne Boutang
Chapter 8 Motherhood, Domesticity and Nurturing in the Post-Apocalyptic World: Negotiating Femininity in The Walking Dead (AMC, 2010-), Marta Suarez
Chapter 9 An Audience Studies Approach to Tarantino’s Violent Heroines in Kill Bill (2003-2004) and Death Proof (2007), Connor Winterton
Chapter 10 Licensed to Kill? Arming and Disarming Female Killers in Action Film and Parody in Mad Max: Fury Road (George Miller, 2015) and Spy (Paul Feig, 2015), Elizabeth Mullen

Part III Monstrous Women
Chapter 11 The Women Who Killed Too Many: Contagion (Steven Soderbergh, 2011) and Female Virality, Julia Echeverría
Chapter 12 Black Female Empowerment, Intersectionality and the Ganja character in Da Sweet Blood of Jesus (Spike Lee, 2014), Hélène Charlery
Chapter 13 Monstrous Feminists? Witches, Murder, and Avatars of (Post-)feminism in American Horror Story: Coven (FX, 2013-2014), Mikaël Toulza
Chapter 14 Furies and Female Empowerment: The Sword and the Pen in Byzantium (Neil Jordan, 2012) and Crimson Peak (Guillermo del Toro, 2015), Carolina Abello Onofre and Christophe Chambost
Chapter 15 Masculine Cultures of Technology and the Robotic Female Avenger in Ex Machina (Alex Garland, 2015) , Samantha Lindop
Chapter 16 “You’re a Dangerous Girl”: Beauty and Violence in The Neon Demon (Nicolas Winding Refn, 2016), Janice Loreck

Coda Evidence of Cruel Optimism: Nick Broomfield’s Aileen: Life and Death of a Serial Killer (2003), Rosemary White

Afterword Women Who Kill after #MeToo, David Roche and Cristelle Maury



Citer ce billet
Anaïs Goudmand (2020, 23 mars). Parution : Women Who Kill. Gender and Sexuality in Film and Series of the Post-Feminist Era. LPCM. Consulté le 24 juin 2024, à l’adresse

Laisser un commentaire

Votre adresse e-mail ne sera pas publiée. Les champs obligatoires sont indiqués avec *

Ce site utilise Akismet pour réduire les indésirables. En savoir plus sur comment les données de vos commentaires sont utilisées.