"Love Barcelona" is Woody Allen's work, and you might question how a bankrupt director makes a film with a female perspective. I really can't. Watching from the perspective of female/queer moviegoers reveals that many potential feminist and queer episodes have been "water down".

"Love Barcelona" (2008) is woody Allen's work, and you might question how a director with a reputation for being bankrupt could make a film with a female perspective? I really can't. Looking at this piece from the perspective of female moviegoers/queer moviegoers, you'll find that many potential feminist and queer episodes are "water down", which may add a critical perspective to our future viewing of mainstream movies. (Extended reading:"Gender Watch" Lubison and Woody Allen, what to think of directors accused of sexual assault)

The film begins with two American women meeting Spanish artist Antonio (Javier Bardem), who are invited to the small Spanish city of Oviedo. Two American women, Cristina (Scarlett Johansson) is romantically linked to Antonio and meets Antonio's ex-wife, also artist Maria Elena Pen?lope Cruz. The trio evolved into a pluralistic relationship, and the film ended with Cristina's departure.

Pen?lope Cruz won 10 best supporting actress awards for Maria Elena, including the British Film Institute Award, the Independent Spirit Award and the Goya Award. The character is hysterical and talented, eye-catching and full of feminism.

"You steal my style; I'm a genius" declares war on them.

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Genius, in the film industry or in the photography industry, it is not difficult to hear a large number of men called "genius", and women who call themselves geniuses can be described as their greatest declaration of war. Maria Elena says to Antonio in one scene: "What does art school say about me?" It's Genius. Antonio refused to admit it, saying, "I often encourage you to develop your talent." Maria Elena reminded him again: "It's not talent, it's genius." 」

This is because Maria Elena accuses him of stealing his own style while painting together, taking her original stuff into her own possession, and wrapping her "artist" skin sin to gain fame and get a bunch of female companions.

After the wave of #Metoo, there was a myth about the "genius theory" of feminist online media common sense, pointing out that Hollywood has many men in Hollywood who were once known as geniuses such as Roman Polanski, Bill Cosby and the film's director, Woody Allen, whose names are "genius" and "genius". The "big gain" and "creativity and quality" are equal, derived from the 20th-century film theory of "Auteur Theory" - the male name is the guarantee of the great author, more than anything else, and constantly self-consumption.

In the case of the hashtags , the author's theory and genius theory make male fame and so , regardless of whether the work is produced in a way that is acceptable or what others do after . #Metoo has given a bunch of male geniuses a slap in the face, and it seems likely to improve the industry's monopoly of "male genius authors", and women's talentised people are expected to get more opportunities. The film's Antonio and Maria echo this "battle of geniuses", in which the actor refuses to admit that he is plagiarism, lacks creativity, enjoys the benefits of being a genius and derived, and Maria, who is quite capable of trying to confront and point out that she is a genius, is set by the script as "the "The insanity" may reflect the hidden "misogyny" side of director Woody Allen.

"She has the difficulty of distinguishing reality from delusion, and I won't be angry about it" "Mad Woman" logic

Maria Elena is a threatening character. In addition to being an artistic "genius", she is also a hysterical person who speaks up about what is wrong and unfair, and makes no secret of her anger. This can be a reference to the myth icalstory about Medusa: an angry woman, turned into a poisonous snake, and petrified with her eyes.

Maria Elena is placed in an excluded, alienated class that the screenwriter and director set out through the hero's lines: "She has the difficulty of distinguishing between reality and paranoia." I won't be angry about it. She doesn't compromise on the theft, infidelity and materialization of the hero, she can't be accepted, so "she must be crazy." But what "mental problems" did Maria Elena suffer? Depression? Or bipolar disorder or something? Hysterical women are always summed up by a "crazy" word, and unjust.

Like "Mad Woman in the Attic", the hero once loved or consumed the woman, how she can not control, had to be summed up in the word "crazy".

Female roaming bridge segment of male narration intervention

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Cristina was inspired by photography as a metaphor for being inspired by "the lust of lesbians". Hearing, male-speaking intervention sits on the sidelines, but prevents the audience from visually experiencing the intimacy between roaming and photographing each other in a city that belongs only to two women. "Maria Elena encouraged Cristina to photograph with an old-fashioned camera," the narrator downplays. They shoot children in the streets, and Maria Elena is Cristina's favorite subject. 」

Photography, or photographing each other, is intimate. In "Love You" (2013), Therese once featured Carol, both on the street and in a private space. The object is the object of desire, through the lens, write down in their own eyes"the most attractive you, only I see the one you. 」

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"It happened naturally. (Non) Lesbian Bridge Segment

In the black room, Cristina and Maria have a physical relationship, which is narrated by Cristina, not male. Even so, the lens's perspective is not female, and we don't see the intimacy of Cristina and Maria. In contrast, Cristina and Antonio's erotic drama has a longer description, and the lens also shows the intimate posture of men and women, which is not applied to the two girls, the kiss is then stopped, is to imply that "heterosexual sex" is more acceptable and viewed than female, or compared" No way to start?

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After Cristina finished the recap, she added, "But I'm not going to turn it into a habit." It is only a natural accident to clearly explain the lesbian experience, not because she is "bisexual" or "gay". The potential script of lesbian relationships thus fails to control the film's subject, and Cristina is portrayed as a "no-love label", denying that Cristina is attracted to Maria, and thus re-establishing the film's core as the hero - everything and love revolve around him, without allowing women to become subjects.

While the film encourages female characters to explore the possibilities of lust, to put aside baggage and pluralism, on the other hand, it sets "permissible boundaries" for "possibility", where scripts of potential female identity, lesbianism and female escape are placed in a safe patriarchal box, and women continue to be set as passive in relationships and lust. others" and use the hero as the center as the boundary-builder.

The unreserved rendition of Maria Elena by The Pen?lope E. Cruz gives a sense of women's discontent and resistance in the "unequal treatment." In the play, The Antonio, played by Javier Bardem, is undoubtedly the stilettos, he does not allow for challenge, he does not allow female hysteria; are the objects that every Maria Elena feels bad about.