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dc.contributor.authorGámez Fuentes, María José
dc.date.accessioned2021-03-17T13:25:29Z
dc.date.available2021-03-17T13:25:29Z
dc.date.issued2021-01-11
dc.identifier.citationGámez Fuentes MJ. Breaking the logic of neoliberal victimhood: Vulnerability, interdependence and memory in Captain Marvel (Anna Boden and Ryan Fleck, 2019). European Journal of Cultural Studies. 2021;24(1):94-106. doi:10.1177/1367549420985839ca_CA
dc.identifier.issn1367-5494
dc.identifier.issn1460-3551
dc.identifier.urihttp://hdl.handle.net/10234/192579
dc.description.abstractThe contemporary visibility of women’s accomplishments and popular outcry in the face of injustice and/or violence might suggest that women have achieved their aim of putting long-fought feminist principles in the spotlight and have finally earned equality. However, let us not forget that, in the face of violence, the hegemonic matrix of intelligibility has also historically defined women victims by their ‘injurability’, so, intrinsically vulnerable, thus justifying the need of the system to assist them. It is not surprising, then, that, as a response to vulnerability, empowerment is celebrated. In this context, one would think that a blockbuster, such as Captain Marvel (2019), would reproduce the hegemonic economy of recognition where the subjects of violence are either treated as devoid of agency or offered empowerment through a neoliberal individualizing logic. However, the controversy that the film and its female protagonist raised (for adopting explicit feminist language to challenge patriarchy), along with the outcry of white angry men (symptomatized in male film critics) and the Internet nerd-culture (members of which considered themselves aggrieved by the film), provide a fruitful ground to look into the communicative logic of victimhood. Captain Marvel can help us to explore not only the chiaroscuros and phallacy of the victim versus empowered subject script but also the implicit logic that obscures the divisions that this logic perpetuates. In this respect, we are interested in analyzing how the movie stages: 1. The assignation and construction of female vulnerability in a hegemonic shared cultural narrative that privileges the construction of the empowered subject obscuring the politics of emotions; 2. The possibilities of empowerment before such a narrative and in relation to reclaiming historical and personal memories; 3. The sharing of the condition of vulnerability across gender and geographical boundaries and its relation with the criminalization of other vulnerable others such as aliens.ca_CA
dc.format.extent14 p.ca_CA
dc.format.mimetypeapplication/pdfca_CA
dc.language.isoengca_CA
dc.publisherSAGE Publicationsca_CA
dc.relation.isPartOfEuropean Journal of Cultural Studies, vol. 24, n.1 (2021)ca_CA
dc.rights(c) Authorsca_CA
dc.rights.urihttp://rightsstatements.org/vocab/InC/1.0/*
dc.subjectCaptain Marvelca_CA
dc.subjectempowermentca_CA
dc.subjectethical witnessingca_CA
dc.subjectinterdependenceca_CA
dc.subjectmemoryca_CA
dc.subjectpopular cultureca_CA
dc.subjectvictimhoodca_CA
dc.subjectvulnerabilityca_CA
dc.subjectwomenca_CA
dc.titleBreaking the logic of neoliberal victimhood: Vulnerability, interdependence and memory in Captain Marvel (Anna Boden and Ryan Fleck, 2019)ca_CA
dc.typeinfo:eu-repo/semantics/articleca_CA
dc.identifier.doihttps://doi.org/10.1177/1367549420985839
dc.rights.accessRightsinfo:eu-repo/semantics/openAccessca_CA
dc.relation.publisherVersionhttps://journals.sagepub.com/doi/10.1177/1367549420985839#articleCitationDownloadContainerca_CA
dc.type.versioninfo:eu-repo/semantics/acceptedVersionca_CA
project.funder.nameMinisterio de Economía, Industria y Competitividadca_CA
project.funder.nameUniversitat Jaume Ica_CA
oaire.awardNumberFEM2015-65834-C2-2-Pca_CA
oaire.awardNumberUJI-B2019-13ca_CA


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