versusVersusVersus2782-36602782-3679Институт экономической политики имени Е.Т. Гайдара10.58186/2782-3660-2023-3-4-196-216versus-108Research ArticleЖЕНСКОЕ МУЖСКОЕ КИНОFEMALE AND MALE CINEMAГероиня, мстительница, мать: женский образ вампира в американском кинематографе XXI векаHeroine, Avenger, Mother: The Female Vampire in 21st Century American CinemaБеньяминоваС.BenyaminovaS.

Софья Беньяминова

Москва

Sofya Benyaminova

Moscow

benyaminova.sofya@gmail.comНациональный исследовательский университет «Высшая школа экономики» (НИУ ВШЭ)РоссияNational Research University — Higher School of Economics (HSE University)Russian Federation20231108202434196216Copyright © Беньяминова С., 20242024Беньяминова С.Benyaminova S.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://versus.elpub.ru/jour/article/view/108

Способы репрезентации женщины в популярной культуре являются прямым отражением истории развития феминистского движения, ведь кино — это особое пространство, где отображаются и драматизируются изменения в сексуальной политике со времен Второй мировой войны. Вампирша — это, в первую очередь, женщина, которая несет в себе смертельную опасность для человека, а иногда и другой нежити. На протяжении всей истории развития вампиров в кинематографе женщина-вампир нарушала нормы женственности, таким образом обличая угнетение женщин доминирующей патриархальной идеологией. Цель статьи —найти и описать общие тенденции репрезентации женского образа вампира в американском кинематографе XXI века. Если в XX веке фигура вампирши в большинстве случаев была связана с ролями второго плана, то в начале XXI века им стало уделяться намного больше экранного времени. Развитие четвертой волны феминистского движения и переосмысление достижений третьей волны, расширение возможностей реализации женщины в киноиндустрии в качестве режиссера и сценариста, становление женской готики и другие факторы не могли не повлиять на весь вампирский киножанр в целом и репрезентацию женщин-вампиров в частности. В статье рассмотрены наиболее яркие образы вампирш в американском кинематографе XXI века. Репрезентации вампирш исследованы в рамках женской готики, (не)соответствия традиционным гендерным ролям и монструозно-фемининной образности — эстетической формы воплощения бунта против ценностей патриархальной системы.

The ways in which women are represented in popular culture are a direct reflection of the history of the development of the feminist movement because cinema is a unique space where the changes in sexual politics since the Second World War are portrayed and dramatized. First and foremost, a vampire is a female figure embodying lethal danger to humans, and at times, the undead. Throughout the history of the development of the vampire image in popular culture and cinema, vampire women exist beyond the boundaries of conventional femininity, thus exposing the oppression of women and social minorities by the dominant patriarchal ideology. The author attempts to find and describe general trends in the representation of the female vampire image in American cinema of the 21st century. While in the 20th century, vampires typically played secondary roles in movies, at the beginning of the 21st century, they were granted screen time as main characters. The development of the fourth wave of the feminist movement, reevaluation of third-wave achievements, increased opportunities for women as directors and screenwriters, the emergence of female Gothic, and other factors unavoidably influenced the vampire film genre and the portrayal of female vampires. The article examines the most vivid images of vampires in American cinema of the 21st century and analyses them from the perspective of their existence beyond the boundaries of traditional femininity, (non)conformity to traditional gender roles, and from the perspective of the monstrous-feminine— aesthetic form of the embodiment of rebellion against the patriarchal system’s values.

женщины-вампирывампирывампирский жанр киноамериканский кинематограф XXI векаженская готикаfemale vampirevampire film genre21st Century American Cinemafemale GothicReferencesAmador V. Dracula’s Postfeminist Daughters in the Twenty-First Century//Dracula’s Daughters. The Female Vampire on Film/D. Brode, L. Deyneka (eds). Plymouth: Scarecrow Press, 2014. P. 285–298.Amador V. Dracula’s Postfeminist Daughters in the Twenty-First Century. Dracula’s Daughters. The Female Vampire on Film (eds D. Brode, L. Deyneka), Plymouth, Scarecrow Press, 2014, pp. 285–298.Arnold S. Maternal Horror Film. Melodrama and Motherhood. L.: Palgrave Macmillan, 2013.Arnold S. Maternal Horror Film. Melodrama and Motherhood, London, Palgrave Macmillan, 2013.Auerbach N. Our Vampires, Ourselves. Chicago: University of Chicago Press, 1997.Auerbach N. Our Vampires, Ourselves, Chicago, University of Chicago Press, 1997.Bacon S. The Breast Bites Back: How the Projected “Bad” Object of the Female Vampire Achieves Autonomy in L. Wiseman’s Underworld Evolution//Illuminating the Dark Side: Evil, Women and the Feminine/A. Ruthven, G. Mádlo (eds). Oxford: Inter-Disciplinary Press, 2010. P. 93–101.Bacon S. The Breast Bites Back: How the Projected “Bad” Object of the Female Vampire Achieves Autonomy in L. Wiseman’s Underworld Evolution. Illuminating the Dark Side: Evil, Women and the Feminine (eds A. Ruthven, G. Mádlo), Oxford, Inter-Disciplinary Press, 2010, pp. 93–101.Brode D. Introduction: “Lamia and Lilith LIVE!” (or at Least Are Undead)//Dracula’s Daughters. The Female Vampire on Film/D. Brode, L. Deyneka (eds). Plymouth: Scarecrow Press, 2014. P. 1–20.Brode D. Introduction: “Lamia and Lilith LIVE!” (or at Least Are Undead). Dracula’s Daughters. The Female Vampire on Film (eds D. Brode, L. Deyneka), Plymouth, Scarecrow Press, 2014, pp. 1–20.Creed B. Return of the Monstrous-Feminine. Feminist New Wave Cinema. N.Y.: Routledge, 2022.Creed B. Return of the Monstrous-Feminine. Feminist New Wave Cinema, New York, Routledge, 2022.Creed B. The Monstrous-Feminine: Film, Feminism, Psychoanalysis. N.Y.: Routledge, 1993.Creed B. The Monstrous-Feminine: Film, Feminism, Psychoanalysis, New York, Routledge, 1993.Fhlainn S.N. Postmodern Vampires: Film, Fiction and Popular Culture. L.: Palgrave Macmillan, 2019.Fhlainn S.N. Postmodern Vampires: Film, Fiction and Popular Culture, London, Palgrave Macmillan, 2019.Gilbert S., Gubar S. The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. New Heaven: Yale University Press, 1979.Gilbert S., Gubar S. The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, New Heaven, Yale University Press, 1979.Harrington E. Women, Monstrosity and Horror Film. Gynaehorror. N.Y.: Routledge, 2018.Harrington E. Women, Monstrosity and Horror Film. Gynaehorror, New York, Routledge, 2018.Hudson D. Vampires, Race, and Transnational Hollywoods. Edinburgh: Edinburgh University Press, 2017.Hudson D. Vampires, Race, and Transnational Hollywoods, Edinburgh, Edinburgh University Press, 2017.Limpár I. Masculinity, Visibility, and the Vampire Literary Tradition in What We Do in the Shadows//Journal of the Fantastic in the Arts. 2018. Vol. 29. № 2. P. 266–288.Limpár I. Masculinity, Visibility, and the Vampire Literary Tradition in What We Do in the Shadows. Journal of the Fantastic in the Arts, 2018, vol. 29, no. 2, pp. 266–288.McNair B. Striptease Culture. Sex, Media and the Democratization of Desire. L.: Routledge, 2002.McNair B. Striptease Culture. Sex, Media and the Democratization of Desire, London, Routledge, 2002.Melton J.G. The Vampire Book. The Encyclopedia of the Undead. Detroit: Visible Ink Press, 2011.Melton J.G. The Vampire Book. The Encyclopedia of the Undead, Detroit, Visible Ink Press, 2011.Myers A.E. Edward Cullen and Bella Swan: Byronic and Feminist Heroes… or Not//Twilight and Philosophy. Vampires, Vegetarians, and the Pursuit of Immortality/R. Housel, J.J. Wisnewski (eds). Hoboken: John Wiley & Sons, 2009. P. 147–162.Myers A.E. Edward Cullen and Bella Swan: Byronic and Feminist Heroes… or Not. Twilight and Philosophy. Vampires, Vegetarians, and the Pursuit of Immortality (eds R. Housel, J.J. Wisnewski), Hoboken, John Wiley & Sons, 2009, pp. 147–162.Onofre C.A., Chambost C. Furies and Female Empowerment: The Sword and the Pen in Byzantium (Neil Jordan, 2012) and Crimson Peak (Guillermo del Toro, 2015)//Women Who Kill. Gender and Sexuality in Film and Series of the Post-Feminist Era/C. Maury, D. Roche (eds). L.: Bloomsbury, 2020. P. 261–278.Onofre C.A., Chambost C. Furies and Female Empowerment: The Sword and the Pen in Byzantium (Neil Jordan, 2012) and Crimson Peak (Guillermo del Toro, 2015). Women Who Kill. Gender and Sexuality in Film and Series of the Post-Feminist Era (eds C. Maury, D. Roche), London, Bloomsbury, 2020, pp. 261–278.Santos С. Unbecoming Female. Monsters Witches, Vampires, and Virgins. Lanham: Lexington Books, 2017.Santos С. Unbecoming Female. Monsters Witches, Vampires, and Virgins, Lanham, Lexington Books, 2017.Schubart R. Mastering Fear. Women, Emotions, and Contemporary Horror. N.Y.: Bloomsbury, 2018.Schubart R. Mastering Fear. Women, Emotions, and Contemporary Horror, New York, Bloomsbury, 2018.The Cambridge Companion to Gothic Fiction/J.E. Hogle (ed.). Cambridge: Cambridge University Press, 2012.The Cambridge Companion to Gothic Fiction (ed. J.E. Hogle), Cambridge, Cambridge University Press, 2012.Wallace D. Introduction: Defining the Female Gothic//The Female Gothic. New Directions/D. Wallace, A. Smith (eds). L.: Palgrave Macmillan, 2009. P. 1–12.Wallace D. Introduction: Defining the Female Gothic. The Female Gothic. New Directions (eds D. Wallace, A. Smith), London, Palgrave Macmillan, 2009, pp. 1–12.Weinstock J. The Vampire Film: Undead Cinema. N.Y.: Columbia University Press, 2012.Weinstock J. The Vampire Film: Undead Cinema, New York, Columbia University Press, 2012.Wisker G. Contemporary Women’s Gothic Fiction. Carnival, Hauntings and Vampire Kisses. L.: Palgrave Macmillan, 2016.Wisker G. Contemporary Women’s Gothic Fiction. Carnival, Hauntings and Vampire Kisses, London, Palgrave Macmillan, 2016.Wisker G. Postfeminist Gothic//Twenty-First-Century Gothic: An Edinburgh Companion/X.A. Reyes, M. Wester (eds). Edinburgh: Edinburgh University Press, 2019. P. 47–59.Wisker G. Postfeminist Gothic. Twenty-First-Century Gothic: An Edinburgh Companion (eds X.A. Reyes, M. Wester), Edinburgh, Edinburgh University Press, 2019, pp. 47–59

The authors declare that there are no conflicts of interest present.