art research

Abstract writing

Abstract taken from...https://www.creativemediaresearch.org/post/the-femme-fatale-and-the-female-screenwriter-disrupting-the-stereotype

Screenwriter: Disrupting the Stereotype

Updated: Oct 1

DOI: https://doi.org/10.33008/IJCMR.2019.12 | Issue 2 | September 2019

Katherine Chediak Putnam

Griffith University, Queensland

Abstract

‘I am back, you bastards’, declares Tilly (Kate Winslet). -(In the body of the work) She smokes a cigarette and wears an evocative white cartwheel hat in the dead of night. This is the opening line of the film The Dressmaker (2015) written and directed by the Australian filmmaker Jocelyn Moorhouse, based on the 2000 novel of the same name by Rosalie Ham. With a mixture of spaghetti western, noir, comedy and drama genre elements, this film recreates the archetype of the femme fatale with a depth rarely seen in such characters. What also makes Tilly ground-breaking is the fact that she is the protagonist of the story, and instead of luring men, she lures the town’s demure women through the beauty of haute couture to uncover the truth about her past and get revenge on those who wronged her. The Dressmaker thus contributes to a female-centric approach to the femme fatale archetype in the film noir genre.

Using The Dressmaker as a case study, this article will draw a parallel between Tilly’s character and the development of the protagonist in my own creative-practice screenplay, Indecent, an erotic thriller driven by a femme fatale detective. Employing narrative theory developed over several screenwriting texts as well as analysing popular discourses around the femme fatale archetype and their intertextual aspects, the objective is to explore through personal reflections how the film The Dressmaker can inform the development of my screenplay’s protagonist towards creating an authentic feminist portrayal of the femme fatale archetype, whilst preserving some classic femme fatale traits in order to pursue a multifaceted and subversive representation of these characters on screen.

• No quotes at the star - shes trying to draw the reader in...
• overview -
• In the body of the work not in the conclusion or into...
• Bits in the conclusion.
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" the objective of the article is to explore through personal reflections how the film The Dressmaker can inform the development of my screenplay’s protagonist towards creating a more authentic feminist portrayal of the femme fatale archetype, one that preserves some classic femme fatale traits in order to pursue a multifaceted and subversive representation of these characters on screen." - Question from the intro can be found and pact down into the abstract...

MY OWN ABSTRACT -

Draft... Bits from my own dissertation, that I will need to annotate etc...

The desire to construct family or intimate emotional connection informs the painting of bodies

physically and emotionally entwined to become one identity. Carl Gustav Jung, A well-known

Swiss psychiatrist said, “The meeting of two personalities is like the contact of two chemical substances: if there is any reaction, both are transformed.” (Jung C. G., 1933) The idea of a new identity or personality between the sister-hood of three woman (myself included). To create that "chemical reaction" and to "transform” it into a new identity (Jung C. G., 1964). I am exploring how I can convey the visible bond in a relationship revealing the metamorphosis of my two friends and myself as a painter?

To conclude my work has now evolved into a vulnerable organic manifestation of the bodily pieces molding and merging together to create a new identity/family.

"The Triage" in medical terms the definition of Triage means "the sorting and allocation of treatment to patients and especially battle and disaster victims according to system of priorities designed to maximize the number of survivors." (unknown, n.d.) To sort the patients according to the urgency or emergency of care. In terms of my own works I can create this assortment of issues, emotions and feelings from urgent to not so urgent. Say painting when I'm angry has more urgency to paint and to get out the anger and ideas more than the dormant urge to look at the blank canvas. To create this "Triangular Form" or a pyramid of emotions and feelings. Forming the skeletal base to make the foundation of the body. Where the bones of the friendship are strong. Creating this new "Identity " of emotions and feelings.

In summary, my research has argued the desired construction of family to physically and mentally inform the painting of bodies to become a new identity. The importance of Surrealism within my work has helped morphed this creation, with the use of three subjects this new identity depicts a form of relationship between the artist and the friends. The sculptural installation demonstrates a physical connection between each organic form creating a notion of “sister-hood”; a “Triage” effect.

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Edited version:

My research project "Portrait and Painter" explores how I can convey the visible bond in a relationship revealing the metamorphosis of my two friends and myself as a painter? Through surrealist painting/installation,the desire to construct family or intimate emotional connection informs the representation of bodies physically and emotionally entwined to become one identity. The series "The Triage" forms the skeletal foundation of the body. The bones visually indicate the friendships are strong. The Triage sorts patients according to the urgency of care. In terms of my own works, various degrees of urgency manifest in painting e.g. when I am angry there is greater urgency to paint. Less urgent is the more dormant emotions that urge me to ponder at the blank canvas. My work has now evolved into a vulnerable organic manifestation of the bodily pieces molding and merging together to create a new identity/family.