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Appears in Collections:Communications, Media and Culture Journal Articles
Peer Review Status: Refereed
Title: Fighting for Subjectivity: Articulations of Physicality in "Girlfight"
Author(s): Lindner, Katharina
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Keywords: Gender
Body, Human, in motion pictures
Women athletes Drama
Boxing for women Drama
Sex role in motion pictures
Issue Date: Mar-2009
Date Deposited: 14-Mar-2012
Citation: Lindner K (2009) Fighting for Subjectivity: Articulations of Physicality in "Girlfight". Journal of International Women's Studies, 10 (3), pp. 4-17.
Abstract: The analysis of Girlfight (Karyn Kusama, 2000) in this paper is framed by critical discourses surrounding physically active female characters in the action genre, the conventions of the boxing film 'genre', the relationship between bodily spectacle and narrative structure, as well as the more general significance of the female boxer's challenge to normative and binary notions of bodily existence and subjectivity. With a particular focus on the interrelationship between narrative structure and boxing sequences ('numbers'), this paper explores notions of the (gendered) subjectivity constructed around the film's female boxing character, Diana (Michelle Rodriguez). I will argue that the boxing 'numbers' largely function as a (bodily) articulation of Diana's struggle for a unified sense of identity and the embodiment of subjectivity. However, the emphasis on the materiality of the body in earlier 'numbers' is replaced in the final boxing sequence by a sense of abstraction and generic integration. The significance of the physicality of the body in relation to the embodiment of subjectivity is therefore strangely disavowed and the (bodily) agency of Diana's character undermined.
Rights: Rights according to webpage: "The JIWS does not charge for: ... Authors to replicate their own work, regardless of where they are publishing. Authors to republish copyrighted material in not-for-profit publications".||Published in Journal of International Women's Studies by Bridgewater State College.

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