셀린 시아마 영화의 퀴어 페미니즘 연구

초록

This paper aims to seek the pointing spot of gender representation by analyzing Céline Sciamma"s films by using queer feminism perspective. Films that place emphasis on empathy with women"s homogeneous experiences and solidarity tend to uncritically accept the dichotomous system of male/female, heterosexual/homosexual. Consideration of differences within women, and fundamental doubts about the innateness and immutability of identity, are important feminist agendas. Céline Sciamma incorporates these agenda into her film. The characters in Céline Sciamma"s films are far from fighters who resist oppressive power systems. Instead, they create cracks while being involved in the system. They reveal the contradiction of the normative system by creating a moment that is ‘queer’ in the repetition of normative gender performance. The performative contradictions of characters in which conspiracy and subversion to gender norms coexist reveal that gender does not remain fixed. The fluidity of gender is emphasized through the scene where the character enters the water. The queer temporality shown by Céline Sciamma films goes against capitalist temporality, which values problem solving and progress. Her films stay in stories that create negative affect, such as women who hurt each other and love that has not been achieved. The films end with a face of a character who has an unresolved sadness but shows a light smile or a determined expression. It shows meticulousness that uses the wounds of the past to confirm the future in a limited way. Queer temporality is more effectively expressed in that children are the subjects of the movie. This is because children grow up in delay and are curious about abject. Children who are open to all the possibilities of sexuality twist heterosexual reproductive futurism. Laura Mulvey discusses ‘male gaze’ and points out the way the camera works towards the female body and the unconsciousness of the male -centered patriarchal society underlying it. Céline Sciamma not only subverts ‘male gaze’, but also rejects a simple reversal to ‘feminine gaze’. In her film, a woman"s gaze toward women reveals a complex intertwining of lesbian desires and gender norms. This ‘queer gaze’ makes the distinction between women and men, heterosexuality and homosexuality, and subject and others suspicious.

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