http://hdl.handle.net/11089/40733 Speculative Genre 2026-04-05T14:52:22Z http://hdl.handle.net/11089/43825 Under Her Hat: Glimpses of Bonnet View Tomić, Janica Ostalska, Katarzyna; Fisiak, Tomasz The paper introduces the concept of tableau as articulated by film history and theory, with examples from the films of Roy Andersson, Jean-Luc Godard and Lars von Trier. A lesser known tradition, the bonnet view originates from Kelly Reichardt’s western Meek’s Cutoff which set out to tell the story from “the point of view of the woman who pours John Wayne’s coffee.” By replacing generic conventions, notably the customary widescreen with a square-like image, Meek’s Cutoff conveys the visual and social restrictions signified by women’s bonnets. The bonnet view is further traced in the tableaus of TV-series Handmaid’s Tale and other cinematic portrayals of women’s history ( Jessica Hausner's Amor Fou and Carl Th. Dreyer’s The Day of Wrath), exploring its potential as a vehicle of the female gaze. 2020-01-01T00:00:00Z http://hdl.handle.net/11089/43824 Between Gazing and Witnessing: Feminism and Watching Women Suffer on Television Strehlau, Nelly Ostalska, Katarzyna; Fisiak, Tomasz The present article discusses ethical aspects of the representations of (sexual) violence and (predominantly women’s) suffering in two recent television series, The Handmaid’s Tale and Dietland. It reflects on the uses and functions of violent imagery they contain and the manner in which this imagery contributes to the series’ perception as feminist shows. The primary question posed is whether this violence occasions engagement or disengagement: whether the role they cast their audiences in consists in gazing or witnessing. 2020-01-01T00:00:00Z http://hdl.handle.net/11089/43823 “Hollywood is no place for idealists”: Hollywood as Dystopia in Cinema and Fiction Fisiak, Tomasz Ostalska, Katarzyna; Fisiak, Tomasz The following article deals with the representation of Hollywood as a dystopian place, for women in particular, where glamour is a utopian façade for both literal and figurative corruption, where the lifespan of an actress is severely limited and the process of discarding “useless” artists is systemically implemented. My main point of reference will be Donald Wolfe’s 1970 Savage Intruder, one of the lesser known hag horrors. Moreover, I will allude to other films exploring a similar motif, not to mention Angela Carter’s 1977 novel entitled The Passion of New Eve, which also analyzes the falseness of Hollywood and its capacity for dystopia. 2020-01-01T00:00:00Z http://hdl.handle.net/11089/43822 Feminist Transgressions and Critical Dys-u-topian Drama: Ann Jellicoe, Bryony Lavery and Germaine Greer Lorek-Jezińska, Edyta Ostalska, Katarzyna; Fisiak, Tomasz Referring to the discussion on the critical potential of dystopias in fiction, the article examines twentieth century feminist plays by Ann Jellicoe, Bryony Lavery and Germaine Greer for their presentation and critical deconstruction of gender roles, social structures and power relations. In the plays discussed in the article the critical and transgressive strategies used by the playwrights question the possibility of separating utopias and dystopias, showing how they are linked to and dependent on each other. Refusing to provide neat endings and definitions, the plays open up to contradictory readings by mixing the elements of dystopia and utopia and inviting critical and self-reflexive interpretations directing the critique of the past and the future towards the present. 2020-01-01T00:00:00Z