India Uncut

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Friday, October 20, 2006

'Post-postpostfeminist woman'

I have a headache right now that is caused by a cold -- I am allergic to aspirin, to add to my woes -- but even if the cold wasn't there, I suspect the headache would. My day began when I opened my email to find this post in it. In it, the Postmodernist icon Gilles Deleuze is quoted as saying:
Everything can be used as a screen, the body of a protagonist or even the bodies of the spectators; everything can replace the film stock, in a virtual film which now only goes on in the head, behind the pupils, with sound sources taken as required from the auditorium. A disturbed brain-death or a new brain which would be at once the screen, the film stock and the camera, each time membrane of the outside and the inside?
The blogger quoting this rarefied nonsense is my friend, Fadereu, and I can only hope he is playing some giant joke on us all, as is entirely plausible for a man of his playful nature. Otherwise, immense worry comes.

Later in the day, I come across the article from which the phrase in the headline of this post is taken. The line in question:
This yummy-looking, artfully personal historical fantasia, borne on currents of melancholy and languor and rocking out to a divine soundtrack of 1980s New Romantic pop music (plenty of the Cure, Bow Wow Wow, and Adam Ant), is the work of a mature filmmaker who has identified and developed a new cinematic vocabulary to describe a new breed of post-postpostfeminist woman.
This is from a review of Sofia Coppola's Marie Antoinette by Lisa Schwarzbaum. Lisa, you rock. Really.

(If anyone ever says "post feminist woman" to me, I will assume that it's an instruction, grab the nearest feminist woman, put her in a giant envelope, stamp her, and deposit her in a mailbox. If they say "post-feminist woman," though, I will note the hyphen and ask, "Who?")

Enough now. I have a proboscis to relieve.
amit varma, 6:20 PM| write to me | permalink | homepage

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