Victim-Warriors and Restorers—Heroines in the Post-Apocalyptic World of Mad Max: Fury Road
The article discusses the evolving image of female characters in the Mad Max saga directed by George Miller, focusing on Furiosa’s rebellion in the last film—Mad Max: Fury Road. Interestingly, studying Miller’s post-apocalyptic action films, we can observe the evolution of this post-apocalyptic visi...
Guardado en:
| Autor principal: | |
|---|---|
| Formato: | article |
| Lenguaje: | EN |
| Publicado: |
Lodz University Press
2021
|
| Materias: | |
| Acceso en línea: | https://doaj.org/article/eb2b51c3b9e8421987d7c8a4af8ef10a |
| Etiquetas: |
Agregar Etiqueta
Sin Etiquetas, Sea el primero en etiquetar este registro!
|
| Sumario: | The article discusses the evolving image of female characters in the Mad Max saga directed by George Miller, focusing on Furiosa’s rebellion in the last film—Mad Max: Fury Road. Interestingly, studying Miller’s post-apocalyptic action films, we can observe the evolution of this post-apocalyptic vision from the male-dominated world with civilization collapsing into chaotic violence visualized in the previous series to a more hopeful future created by women in the last part of the saga: Mad Max: Fury Road (2015). We observe female heroes: the vengeful Furiosa, the protector of oppressed girls and sex slaves, the women of the separatist clan, and the wives of the warlord, who bring down the tyranny and create a new “green place.” It is worth emphasizing that the plot casts female solidarity in the central heroic role. In fact, the Mad Max saga emerges as a piece of socially engaged cinema preoccupied with the cultural context of gender discourse. Noticeably, media commentators, scholars and activists have suggested that Fury Road is a feminist film. |
|---|