The Representation of Gender Relations in Atom Egoyan's Chloe and Anne Fontaine's Nathalie
The Representation of Gender Relations in Atom Egoyan 's Chloe and Anne Fontaine 's Nathalie
Outline
1. Chloe and Nathalie – the starting point
2. The Representation of Gender
2.1. The Three Voyeuristic-Scopophilic Looks
2.2. Identification in Nathalie and Chloé
2.3. The Unconscious in Nathalie and Chloe
2.4. Nathalie and Chloe’s characters and Freud’s theory on the human psyche
3. Closing Remarks
1. Chloe and Nathalie – the starting point “A doctor hires an escort to seduce her husband, whom she suspects of cheating, though unforeseen events put the family in danger”, is the brief summary of Chloé’s story, the Canadian remake by Atom Egoyan of Anne Fontaine’s film Nathalie (imdb.com). Immediately, one questions for the logical coherence of such a plot. It seems rather unusual for a wife to hire a person his husband would potentially cheat on her. The motivation of her peculiar behaviour instantly grabs the attention of the spectator. What kind of knowledge does she expect to gain? In addition one might wonder about the role of the escort. Prostitution as a profession which is frowned upon, prostitutes lead an existence on the edge of society. The wife on the one side and the prostitute on the other constitute two poles within the social framework presented in both films. In Nathalie and Chloé these two contrasting ways of life and thinking meet and create the tension essential to any narrative. This essay aims to look chiefly at these female protagonists. As highly opposing representatives of their gender the two protagonists allow for an interesting analysis regarding gender representation. Since thought and behaviour patterns cannot be examined without the help of psychoanalysis, this essay will also consider Freudian theories relevant to film studies. Yet a major part of the essay shall focus on applied film studies by looking at the narrative, certain shots, camera angles and light settings that convey
Outline
1. Chloe and Nathalie – the starting point
2. The Representation of Gender
2.1. The Three Voyeuristic-Scopophilic Looks
2.2. Identification in Nathalie and Chloé
2.3. The Unconscious in Nathalie and Chloe
2.4. Nathalie and Chloe’s characters and Freud’s theory on the human psyche
3. Closing Remarks
1. Chloe and Nathalie – the starting point “A doctor hires an escort to seduce her husband, whom she suspects of cheating, though unforeseen events put the family in danger”, is the brief summary of Chloé’s story, the Canadian remake by Atom Egoyan of Anne Fontaine’s film Nathalie (imdb.com). Immediately, one questions for the logical coherence of such a plot. It seems rather unusual for a wife to hire a person his husband would potentially cheat on her. The motivation of her peculiar behaviour instantly grabs the attention of the spectator. What kind of knowledge does she expect to gain? In addition one might wonder about the role of the escort. Prostitution as a profession which is frowned upon, prostitutes lead an existence on the edge of society. The wife on the one side and the prostitute on the other constitute two poles within the social framework presented in both films. In Nathalie and Chloé these two contrasting ways of life and thinking meet and create the tension essential to any narrative. This essay aims to look chiefly at these female protagonists. As highly opposing representatives of their gender the two protagonists allow for an interesting analysis regarding gender representation. Since thought and behaviour patterns cannot be examined without the help of psychoanalysis, this essay will also consider Freudian theories relevant to film studies. Yet a major part of the essay shall focus on applied film studies by looking at the narrative, certain shots, camera angles and light settings that convey
Cited: Bowman, Karl M. “The Ego and the Id by Sigmund Freud.” Joan Rivière Review by: The American Journal of Psychology, 40. 4 (1928): 644-647. JSTOR. PDF file. Chloe. Dir.Atom Egoyan. Perf. Julianne Moore, Amanda Seyfried. Studio Canal, 2009. DVD. “Chloe (2009)” imdb.com Kessler, Suzanne J., and Wendy McKenna. Gender An Ethnomethodological Approach. New York: University of Chicago Press, 1985. Print. Metz, Christian. “From the Imaginary Signifier.” Film Theory and Criticism Introductory Reading. Ed. Leo Braudy and Marshall Cohen. New York; Oxford: Oxford University Press, 2004. Print.