I believe the noir thrillers and melodramas from the 1960s signified the departure from old representations of women. Earlier films confined women on-screen to traditional roles like obedient housewives or supernatural virtuous heroines; but from the article, 1960 films like the Black Rose introduced complex characters, oscillating between high-society women and a professional of robbery. Female roles in an urban setting becomes intertwined and relatable – even if not, in a sense that navigating between cramped domestic spaces and the outside urban aesthetics poses as an ideal to females stuck in factory routines, serves as a visual relief to those yet to experience the break-free from the most domestic norms.
I was delighted to realize from the article, “the feminine domestic space coexists with and is a continuum of the modernizing city”, that the doubling of female identities was meanwhile portrayed through space – an abstraction. The Heroine showing a shiny black convertible driving past the newly completed public housing estates up the hill to a modern villa, allows me to realize a juxtaposition in the city of the 1960s, addressing the alienation and disjunctions of the city as a result of transition. To me, juxtaposition is a result of change, and change is a beautiful way to convey the concept of time.
I was highly skeptical of the abstract relation of “time and space” to a simple human gender role on screen. The biggest takeaway from this article was the interplay between female roles, time, and space, particularly in an urban setting.
Your response to Eunice’s text is quite well. But there are some points to improve: 1/ you can elaborate more about ‘…the doubling of female identities was meanwhile portrayed through space – an abstraction.’ And 2/ What is your skepticism of the abstract relation of “time and space”? you should elaborate this point a bit.