The Pathway of Black Swan: Violence and Construction of the Subject
The aim of this paper is to analyze the film Black Swan (2011), directed by Darren Aronofsky, in order to understand the identity construction of a subject crossed by multiple violence: Nina, the ballet dancer. For this purpose, the analysis will focus on the relationship of the following concepts:...
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| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2019 |
| País: | Perú |
| Recursos: | Pontificia Universidad Católica del Perú |
| Repositorio: | Revistas - Pontificia Universidad Católica del Perú |
| Idioma: | español |
| OAI Identifier: | oai:ojs.pkp.sfu.ca:article/21537 |
| Acesso em linha: | http://revistas.pucp.edu.pe/index.php/conexion/article/view/21537 |
| Access Level: | acceso abierto |
| Palavra-chave: | Black Swan Structural violence Symbolic violence Motherhood Body Recognition El cisne negro Violencia estructural Violencia simbólica Maternidad Cuerpo Reconocimiento |
| Resumo: | The aim of this paper is to analyze the film Black Swan (2011), directed by Darren Aronofsky, in order to understand the identity construction of a subject crossed by multiple violence: Nina, the ballet dancer. For this purpose, the analysis will focus on the relationship of the following concepts: the processes of recognition, the dynamics of power and violence, and the experience of motherhood. It is concluded that Nina’s character suffers a double violence. The first one is linked to a patriarchal scheme of structural violence towards women and the feminine and the second one is related to an intimate and symbolic violence: the fusion and lack of recognition of her as a human being separated from her mother. |
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