Rikke Schubart

Anne Gjelsvik

Gender, Game of Thrones and Multiple Media Engagements

Women of Ice and Fire

Together, Flags of our Fathers and Letters from Iwo Jima tell the story behind one of history's most famous photographs, Leo Rosenthal's 'Raising the Flag on Iwo Jima'.

Critical Engagements With Flags of Our Fathers and Letters from Iwo Jima

Eastwood's Iwo Jima

"Hvorfor bliver vi tiltrukket og fascineret af uhyggelige hændelser i fiktiv form? Hvad er det der gør, at vi ligefrem nyder at læse en roman eller se en film om en patologisk voldsforbryder, som vi ville være rædselsslagne over at møde i virkeligheden? Hvordan går det til, at personer, der ellers virker sunde og fornuftige, nyder det kolde gys, når vampyren blotter tænderne, når og psykopaten hæver øksen over (Misery) eller retter geværet (The Silence of the Lambs) eller klaverstregen (Cape Fear) mod et uskyldigt offers hoved? Og er offeret nu egentlig også altid helt uskyldigt?"

I lyst og død

With actress Pam Grier’s breakthrough in Coffy and Foxy Brown, women entered action, science fiction, war, westerns and martial arts films—genres that had previously been considered the domain of male protagonists. This ground-breaking cinema, however, was—and still is—viewed with ambivalence. While women were cast in new and exciting roles, they did not always arrive with their femininity intact, often functioning both as a sexualized spectacle and as a new female hero rather than female character. This volume contains an in-depth critical analysis and study of the female hero in popular film from 1970 to 2006. It examines five female archetypes: the dominatrix, the Amazon, the daughter, the mother and the rape-avenger. The entrance of the female hero into films written by, produced by and made for men is viewed through the lens of feminism and post-feminism arguments. Analyzed works include films with actors Michelle Yeoh and Meiko Kaji, the Alien films, the Lara Croft franchise, Charlie’s Angels, and television productions such as Xena: Warrior Princess and Alias.

The Female Hero in Popular Cinema, 1970–2006

Super Bitches and Action Babes

Mastering Fear analyzes horror as play and examines what functions horror has and why it is adaptive and beneficial for audiences. It takes a biocultural approach, and focusing on emotions, gender, and play, it argues we play with fiction horror. In horror we engage not only with the negative emotions of fear and disgust, but with a wide range of emotions, both positive and negative. The book lays out a new theory of horror and analyzes female protagonists in contemporary horror from child to teen, adult, middle age, and old age. Since the turn of the millennium, we have seen a new generation of female protagonists in horror. There are feisty teens in The Vampire Diaries (2009–2017), troubled mothers in The Babadook (2014), and struggling women in the New French extremity with Martyrs (2008) and Inside (2007). At the fuzzy edges of the genre are dramas like Pan's Labyrinth (2006) and Black Swan (2010), and middle-age women are now protagonists with Carol in The Walking Dead (2010–) and Jessica Lange's characters in American Horror Story (2011–). Horror is not just for men, but also for women, and not just for the young, but for audiences of all ages.

Women, Emotions, and Contemporary Horror

Mastering Fear

George R.R. Martin's acclaimed seven-book fantasy series A Song of Ice and Fire is unique for its strong and multi-faceted female protagonists, from teen queen Daenerys, scheming Queen Cersei, child avenger Arya, knight Brienne, Red Witch Melisandre, and many more. The Game of Thrones universe challenges, exploits, yet also changes how we think of women and gender, not only in fantasy, but in Western culture in general. Divided into three sections addressing questions of adaptation from novel to television, female characters, and politics and female audience engagement within the GoT universe, the interdisciplinary and international lineup of contributors analyze gender in relation to female characters and topics such as genre, sex, violence, adaptation, as well as fan reviews. The genre of fantasy was once considered a primarily male territory with male heroes. Women of Ice and Fire shows how the GoT universe challenges, exploits, and reimagines gender and why it holds strong appeal to female readers, audiences, and online participants.

"With actress Pam Grier's breakthroughs in Coffy and Foxy Brown, women entered action, science fiction, war, westerns and martial arts films--genres that had previously been considered the domain of male protagonists. This ground-breaking cinema is stillviewed with ambivalence. This work examines five female archetypes: dominatrix, Amazon, daughter, mother and rape-avenger"--Provided by publisher.

The Female Hero in Popular Cinema, 1970-2006

"Verdens 25 bedste gyserfilm" er en hårrejsende vandring gennem gyser-, monster- og zombiefilmenes verden. Gyserfilmsekspert Rikke Schubart introducerer de forskellige film, og argumenterer passioneret for hvorfor hver og én hører til på denne bloddryppende liste. "Verdens 25 bedste gyserfilm" er både en guide og appetitvækker til alle horror-elskere, der elsker når det løber koldt ned ad ryggen eller gåsehuden begynder at prikke inden under tøjet.

Verdens 25 bedste gyserfilm

"Actionfilmen er øredøvende mandlig narcissisme. Men den er mere end underholdning for arbejderklassen. I Halvtredserne kaldte den franske filmkritiker André Bazin westernfilmen for "den amerikanske film par exellence". Han tænkte på western som mytologiske landskaber, hvori man fandt den amerikanske selvforståelse. I de sidste tredive år har actionfilmen været "den amerikanske film par exellence". Ligesom John Wayne beskyttede samfundet mod skurkene, frelser actionhelten os i dag fra "det onde". Og ligesom westernfilmen mytologiserede Amerika, mytologiserer actionfilmen i dag USA." Filmekspert og lektor ved Syddansk Universitet Rikke Schubert gennemgår actionfilmens udvikling fra begyndelsen af 1970’erne og frem til 2001.

Rikke Schubart

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