Feminists and Femmes Fatales
Datos Bibliográficos
| ID | 23640355 |
|---|---|
| Autores | Ayako Kano (0000-0003-3316-7424, autor de correspondencia) |
| Año | 2001 |
| Páginas | 183-217 |
| Fecha de publicación | 2001-01-01 |
| Open Access | Sí |
| Tipo | CHAPTER |
| Revista | Acting Like a Woman in Modern Japan (SOURCE_BOOK) |
| Editorial | Palgrave Macmillan US (PUBLISHER) |
| DOI | 10.1007/978-1-349-63315-9_8 |
| OpenAlex | W2432935169 |
| ISBN | 9781349633159 |
| Idioma | EN |
| Referencias citadas | 4 |
The preceding chapters showed Matsui Sumako as a New Woman, a sexual subject par excellence. When performed on stage, however, the New Woman takes on various hues: The primary colors that make up the full palette are that of the outspoken and rational feminist on one end and the seductive and irrational femme fatale on the other end, with many gradations in between. During her short but brilliant career, Matsui Sumako performed a number of roles that might be called feminist, but also a number of roles that could be labeled femme fatale. How are we to understand an actress who acted both as a feminist and as a femme fatale? And what is the relationship of both figures to the definition of womanhood as grounded in the body? And are the feminist and femme fatale figures as distant from each other as they might seem at first glance?
Political science · Asian Culture and Media Studies · Cinema and Media Studies · Japanese History and Culture
| Altamente citado | No |
|---|