Mother-Daughter Identity Constructs in "Lady Snowblood" and "Carrie"

  • Kristin A. Hrehor Seoul National University
Keywords: Carrie, Lady Snowblood, Philosophy of film, mother, daughter, identity

Abstract

Both Carrie (1976) and Lady Snowblood (1973) have each received significant attention in critical film theory and philosophical works. However, when considered with the aim of drawing comparisons rather than focusing on established theoretical concerns that prevent or at least obfuscate such a pairing, both films betray the same approach to identity construction with respect to the main female characters. This approach involves the reliance on a narrative construct in which a repressive condition is placed upon the leading women in these films, a condition that, when critically evaluated, may have more widespread implications for how we ought to represent women in film in general. While the interpretations presented here and the value that they hold may overlap with claims already made about such films in non-comparative contexts, the analysis here may serve to foreground certain structural features that make these films warrant renewed attention due to the underlying assumptions implicit in their development about the critical role of a mother with respect to how a daughter defines her own identity.

References

Alexander, Alex E. 1979. “Stephen King’s Carrie - A Universal Fairytale.” The Journal of Popular Culture XIII (2): 282–288.

Bolton, Matthew. 2017. “‘Like Oil and Water’: Adaptation as Textuality, Intertextuality, and Metatextuality in Lady Snowblood (Fujita, 1973).” Studies in 20th and 21st Century Literature 42, no. 1.

Carroll, Noël. 1990. A Philosophy of Horror or Paradoxes of the Heart. New York: Routledge.

Choi, Jinhee, and Mattias Frey, eds. 2014. Cine-ethics : ethical dimensions of film theory, practice and spectatorship. New York: Routledge.

Creed, Barbara. 1993. The Monstrous-Feminine: Film, Feminism, Psychoanalysis. New York: Routledge.

De Palma, Brian. 1976. Carrie. Hollywood: MGM.

Fujita, Toshiya. 1973. Lady Snowblood. USA: Toho Co., Ltd., Criterion Collection.

Kozma, Alicia. 2012. “Pinky Violence: Shock, awe and the exploitation of sexual liberation.” Journal of Japanese and Korean Cinema 3 (1): 37–44.

Lindsey, Shelley Stamp. 1991. “Horror, Femininity, and Carrie’s Monstrous Puberty.” Journal of Film and Video 43 (4): 33–44.

Matusa, Paula. 1977. “Corruption and Catastrophe: De Palma’s Carrie.” Film Quarterly 31 (1): 32–38.

Mitchell, Neil. 2013. Devil’s Advocates: Carrie. New York: Columbia University Press.

Mulvey, Laura, and Anna Backman Rogers. 2015. Feminisms: Diversity, Difference and Multiplicity in Contemporary Film Cultures. Amsterdam: Amsterdam University Press.

Platz, Jenny Ann. 2011. “Quentin Tarantino and the revisit of the active women in exploitation films.” Ph.D. diss., San Francisco State University.

Rife, Katie. 2018, Jul. A Tarantino-approved classic gets vibrant new life in The Complete Lady Snowblood. https://film.avclub.com/a-tarantinoapproved-classic-gets-vibrant-new-life-in-t-1798186177.

Sherlock, Ben. 2019, Mar. Quentin Tarantino’s Favorite Movies Of All Time, Ranked. https://screenrant.com/quentin-tarantinos-favoritemovies-time-ranked/.

Published
2020-07-22
Section
Philosophy of film without theory