Cuerpos enfermos de explotación, conciencias incapaces de rebelarseShoes (1916) y La petite marchande d’allumettes (1928)

  1. Brotons Capó, Maria Magdalena 1
  2. Barreiro González, Maria Soliña 2
  1. 1 Universitat de les Illes Balears
    info

    Universitat de les Illes Balears

    Palma, España

    ROR https://ror.org/03e10x626

  2. 2 Universidade de Santiago de Compostela
    info

    Universidade de Santiago de Compostela

    Santiago de Compostela, España

    ROR https://ror.org/030eybx10

Zeitschrift:
Comparative cinema

ISSN: 2604-9821

Datum der Publikation: 2023

Ausgabe: 11

Nummer: 21

Art: Artikel

DOI: 10.31009/10.31009/CC.2023.V11.I21.06 DIALNET GOOGLE SCHOLAR lock_openOpen Access editor

Andere Publikationen in: Comparative cinema

Zusammenfassung

Although twelve years separate Shoes (Lois Weber, 1916) from La petite marchande d’allumettes (Jean Renoir, 1928), the two medium-length films have much in common. Although the North American director’s narrative is based on a realist story and the French director’s film is inspired by a fairy tale, both show the female body as an object, one used by progenitors in order to satisfy their material needs and to obtain benefits. They both depict working-class women as submissive recipients of misfortune who assume as natural the circumstances that lead them to illness, prostitution, and death. Through the poetics of the image and the materiality of the suffering body, the two directors concentrate the reflexive core of female exploitation of the body