Spiste horisonter og Tre piger og en gris: En komparativ kritik af dansk surrealistisk og feministisk avantgardefilm

Research output: Contribution to journal › Journal article › Research › peer-review

Standard

Spiste horisonter og Tre piger og en gris : En komparativ kritik af dansk surrealistisk og feministisk avantgardefilm. / Vilslev, Birgitte Thorsen.

In: K & K : kultur og klasse : kritik og kulturanalyse, Vol. 47, No. 127, 2019, p. 173-194.

Research output: Contribution to journal › Journal article › Research › peer-review

Harvard

Vilslev, BT 2019, 'Spiste horisonter og Tre piger og en gris: En komparativ kritik af dansk surrealistisk og feministisk avantgardefilm', K & K : kultur og klasse : kritik og kulturanalyse, vol. 47, no. 127, pp. 173-194. https://doi.org/10.7146/kok.v47i127.114749

APA

Vilslev, B. T. (2019). Spiste horisonter og Tre piger og en gris: En komparativ kritik af dansk surrealistisk og feministisk avantgardefilm. K & K : kultur og klasse : kritik og kulturanalyse, 47(127), 173-194. https://doi.org/10.7146/kok.v47i127.114749

Vancouver

Vilslev BT. Spiste horisonter og Tre piger og en gris: En komparativ kritik af dansk surrealistisk og feministisk avantgardefilm. K & K : kultur og klasse : kritik og kulturanalyse. 2019;47(127):173-194. https://doi.org/10.7146/kok.v47i127.114749

Author

Vilslev, Birgitte Thorsen. / Spiste horisonter og Tre piger og en gris : En komparativ kritik af dansk surrealistisk og feministisk avantgardefilm. In: K & K : kultur og klasse : kritik og kulturanalyse. 2019 ; Vol. 47, No. 127. pp. 173-194.

Bibtex

@article{8ac1fb9a54f04ea39e0d168a85d857ce,
title = "Spiste horisonter og Tre piger og en gris: En komparativ kritik af dansk surrealistisk og feministisk avantgardefilm",
abstract = "This article compares the sexual differences in two Danish avant-garde films. It suggests that the Danish feminist, collective film Three Girls and a Pig from 1971 with an actual castration of a young pig established a deconstruction of a phallic economy in line with the theory of the French feminist linguist Luce Irigaray. In comparison with the artist Wilhelm Freddie{\textquoteright}s and filmmaker J{\o}rgen Roos{\textquoteright} surrealist film, Eaten Horizons from 1950, this deconstruction may contribute to a feminist reinterpretation of the latter{\textquoteright}s sadist and cannibalistic fetichization of the female body. Furthermore, the comparison sheds light on formal and aesthetic strategies, such as the surrealist magic and illusionism contrasted to feminist bodily realism, and the transgressive potentials of the bodily rituals in the two films.",
author = "Vilslev, {Birgitte Thorsen}",
year = "2019",
doi = "10.7146/kok.v47i127.114749",
language = "Dansk",
volume = "47",
pages = "173--194",
journal = "K & K",
issn = "0905-6998",
publisher = "Forlaget Medusa",
number = "127",

}

RIS

TY - JOUR

T1 - Spiste horisonter og Tre piger og en gris

T2 - En komparativ kritik af dansk surrealistisk og feministisk avantgardefilm

AU - Vilslev, Birgitte Thorsen

PY - 2019

Y1 - 2019

N2 - This article compares the sexual differences in two Danish avant-garde films. It suggests that the Danish feminist, collective film Three Girls and a Pig from 1971 with an actual castration of a young pig established a deconstruction of a phallic economy in line with the theory of the French feminist linguist Luce Irigaray. In comparison with the artist Wilhelm Freddie’s and filmmaker Jørgen Roos’ surrealist film, Eaten Horizons from 1950, this deconstruction may contribute to a feminist reinterpretation of the latter’s sadist and cannibalistic fetichization of the female body. Furthermore, the comparison sheds light on formal and aesthetic strategies, such as the surrealist magic and illusionism contrasted to feminist bodily realism, and the transgressive potentials of the bodily rituals in the two films.

AB - This article compares the sexual differences in two Danish avant-garde films. It suggests that the Danish feminist, collective film Three Girls and a Pig from 1971 with an actual castration of a young pig established a deconstruction of a phallic economy in line with the theory of the French feminist linguist Luce Irigaray. In comparison with the artist Wilhelm Freddie’s and filmmaker Jørgen Roos’ surrealist film, Eaten Horizons from 1950, this deconstruction may contribute to a feminist reinterpretation of the latter’s sadist and cannibalistic fetichization of the female body. Furthermore, the comparison sheds light on formal and aesthetic strategies, such as the surrealist magic and illusionism contrasted to feminist bodily realism, and the transgressive potentials of the bodily rituals in the two films.

U2 - 10.7146/kok.v47i127.114749

DO - 10.7146/kok.v47i127.114749

M3 - Tidsskriftartikel

VL - 47

SP - 173

EP - 194

JO - K & K

JF - K & K

SN - 0905-6998

IS - 127

ER -

ID: 334268551