In 2020, Julia Ducournau received the prestigious Golden Palm Film Award for her latest film “Titan”. It provoked a number of ambiguous reactions, some of them in Bulgaria. Although her latest work repeatedly focuses on the woman and her experiences, Ducournau’s brave solutions and feminist themes are visible in the 2016 production entitled “Raw”. This debut film plays with roles and concepts, long established in cinema, of the passive position of women. Ducournau’s heroine literally and metaphorically “tastes” the blood of life. Justin’s story and the course of her ritual transformation allude to the Gothic tradition of representing the vampire. But while the classical gothic vampire feeds on his immortality (and sexuality) by feeding on the blood of his victims, Ducournau’s bloodthirsty heroine “drinks” her way to realization of one’s own pleasure and emotional maturity. The origin of Justin’s thirst is not insignificant – she inherits it from her mother. This article analyses the film “Raw” as a female reading of classical gothic imagery and the typification of the female character.
JULIA DUCOURNAU’S RAW: FEMALE GOTHIC ON FILM
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- INVERSIONINSTITUTIONSofia University St. Kliment OhridskiE-MAILCOUNTRYBulgaria
Ралица Люцканова-Костова, родена през 1987 г. в гр. Варна, е постдокторант, назначен по европейски проект към Факултет „Славянски филологии“, СУ „Св. Климент Охридски“. Защитава докторска дисертация на тема „Новата женска готика в творчеството на Карсън Маккълърс и Анджела Картър“ през 2018 г. Нейните научни интереси са в областта на литературата, историята и популярната култура. През 2019 г. публикува монографията „Жени и чудовища. Новата женска готика – Анджела Картър и Карсън Маккълърс“.
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