New from Netflix: 'Mank', Fincher, and A Hollywood Creation Tale - Review of 'Mank' (David Fincher, 2020)

O presente ensaio constitui-se numa proposta de análise da subjetividade dos personagens Amy e Nick no filme Garota Exemplar (Gone Girl) de David Fincher (2014), enfatizando as posições subjetivas em que transitam. Procuramos analisar em que medida a atuação perversa é entremeada por uma cisão neurótica, ancorados na ideia de que haja, em cada personagem, um sofrimento narcísico atrelado às exigências culturais, levando-os a caricaturar a hipocrisia da vida cotidiana num modelo idealizado. O sofrimento narcísico e a atuação violenta e/ou dissimulada dos personagens reside em uma patologia social mais ampla, ou seja, nos imperativos de uma educação voltada para o sucesso absoluto, para a fama, o espetáculo, o lucro e o estilo de vida consumista exibicionista como principais valores da vida. Nesse sentido, o casal de personagens vive uma vida falseada em que jamais ousam a liberdade de dizer e assumir a verdade sobre si mesmos.

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GONE GIRL DARI DAVID FINCHER: DESKRIPTIF GEJALA PSIKOPAT DITUNJUKKAN OLEH KARAKTER AMY ELLIOT DUNNE [David Fincher’s Gone Girl: Description of Psychopathic Symptoms Reflected on Amy Elliot Dunne’s Character]

TOTOBUANG ◽

10.26499/ttbng.v5i2.32 ◽

2018 ◽

Vol 5 (2) ◽

pp. 187

Author(s):

Rodelio Paparang Lalenoh

Keyword(s):

Sexual Behavior ◽

Qualitative Method ◽

Behavioral Control ◽

Psychopathy Checklist ◽

David Fincher ◽

Psychopathy Checklist Revised ◽

Parasitic Lifestyle ◽

Descriptive Qualitative

This research was intended to reveal the psychopathic symptoms that shown by Amy Elliot Dunne’s in Gone Girl film by applying Dr. Hare’s Psychopathy Checklist-Revised 2nd Version (PCL-R) as the main theory of the whole description in the film. The writer used descriptive-qualitative method to simply collect all the data from accessible books, journal, and official website. Furthermore, these were used to analyze the psychopathic symptoms through the character’s behavior, dialogue, monologue, and narration. The writer revealed Nick’s disloyal lifestyle to his marriage and followed by Nick’s cheating on Amy drive Amy to be a psychopath. Conclusively, the writer reveals psychopathic symptoms depicted on Amy: Glib and Superficial Charm, Pathological Lying, Conning and Manipulative, Lack of Remorse and Guilt, Callous and Lack of Empathy, Shallow Affect, Parasitic Lifestyle, Poor Behavioral Control, Promiscuous Sexual Behavior, and Criminal Versatility. Penelitian berikut bermaksud untuk mengungkap gejala-gejala psikopat yang di tunjukan oleh Amy Elliot Dunne di film Gone Girl dengan mengaplikasikan Psychopathy Checklist Revised Versi ke-2 (PCL-R) milik Dr. Hare sebagai teori utama di semua deskripsi pada film tersebut. Penulis menggunakan pendekatan deskriptif-kualitatif untuk mengumpulkan semua data dari buku yang dapat diakses, jurnal, dan website resmi. Selebihnya, ini akan digunakan untuk menganalisa gejala-gejala psikopat melalui sifat karakter, dialog, monolog, dan narasi. Penulis mengungkapkan cara hidup Nick yang tidak setia terhadap pernikahan dan diikuti oleh Nick yang selingkuh terhadap Amy memicu Amy menjadi psikopat, Kesimpulannya, penulis mengungkapkan gejala yang di tunjukan Amy: Glib and Superficial Charm, Pathological Lying, Conning and Manipulative, Lack of Remorse and Guilt, Callous and Lack of Empathy, Shallow Affect, Parasitic Lifestyle, Poor Behavioral Control, Promiscuous Sexual Behavior, dan Criminal Versatility.

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Filmatiske fedre og fraværet av forbilder – David Fincher, det farløse univers og utopien om den gode far

Norsk medietidsskrift ◽

10.18261/issn0805-9535-2006-04-02 ◽

2006 ◽

Vol 13 (04) ◽

pp. 300-318

Author(s):

Anne Gjelsvik

Keyword(s):

David Fincher

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El cuerpo fascista recuperado: la exploración de la masculinidad en Fight Club

Daímon ◽

10.6018/daimon/268841 ◽

2017 ◽

pp. 573

Author(s):

Leonor Acosta Bustamante

Keyword(s):

David Fincher ◽

Fight Club

En 1999 los debates sobre la masculinidad en crisis produjeron en Estados Unidos un volumen importante de literatura crítica y posicionó en bandos contrarios a los estudiosos que provenían de las proclamas feministas y los que fundaron el movimiento mitopoético de los hombres, enfrentados a las máximas de los Estudios de Género. El estreno de <em>Fight Club</em> provocó una especie de catarsis en ese escenario de confrontación y abordó la regeneración de la masculinidad hegemónica, localizándola en la vuelta a la violencia primitiva como esencia masculina. Entroncando así la narración entretejida con esos discursos, la apuesta de David Fincher, y de Chuk Palahniuk en la novela homónima de la que parte la película, aboga por detectar los peligros de entender lo masculino como esencialmente vinculado al dolor físico y a la agresividad del combate, provocando la identificación de este proceso con la conformación de los cuerpos políticos del fascismo

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Seduction and Mutually Assured Destruction

10.4018/978-1-5225-0525-9.ch005 ◽

2017 ◽

pp. 90-111

Author(s):

Ana Cabral Martins

Keyword(s):

Film Noir ◽

Femme Fatale ◽

Pulp Fiction ◽

David Fincher ◽

American Cinema ◽

Cinematic Adaptation

In cinema, the most prevalent representation of the figure of the seductress has been the femme fatale or the “vamp”. This chapter will explore the femme fatale in various incarnations in American cinema throughout its history. This chapter will also overview several definitions of femme fatale, and its connection with sex, seduction and destruction, in cinema's history, principally the American silent film's “vamp”, personified by the actress Theda Bara; and the 1940s filmnoir's femme fatale, personified by actresses such as Rita Hayworth and Barbara Stanwyck. In an attempt to trace a connection between different embodiments of the femme fatale in American cinema, this chapter will focus, in particular, on David Fincher's cinematic adaptation of the pulp fiction novel Gone Girl (2012), by Gillian Flynn. Not only does Gone Girl (David Fincher, 2014) offer one of the most recent interpretations of the traditional film noir trope, it also provides a modern update of the femme fatale.

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