Mother-Daughter Identity Constructs in "Lady Snowblood" and "Carrie"
Both Carrie (1976) and Lady Snowblood (1973) have each received significant attention in critical film theory and philosophical works. However, when considered with the aim of drawing comparisons rather than focusing on established theoretical concerns that prevent or at least obfuscate such a pairing, both films betray the same approach to identity construction with respect to the main female characters. This approach involves the reliance on a narrative construct in which a repressive condition is placed upon the leading women in these films, a condition that, when critically evaluated, may have more widespread implications for how we ought to represent women in film in general. While the interpretations presented here and the value that they hold may overlap with claims already made about such films in non-comparative contexts, the analysis here may serve to foreground certain structural features that make these films warrant renewed attention due to the underlying assumptions implicit in their development about the critical role of a mother with respect to how a daughter defines her own identity.
Alexander, Alex E. 1979. “Stephen King’s Carrie - A Universal Fairytale.” The Journal of Popular Culture XIII (2): 282–288.
Bolton, Matthew. 2017. “‘Like Oil and Water’: Adaptation as Textuality, Intertextuality, and Metatextuality in Lady Snowblood (Fujita, 1973).” Studies in 20th and 21st Century Literature 42, no. 1.
Carroll, Noël. 1990. A Philosophy of Horror or Paradoxes of the Heart. New York: Routledge.
Choi, Jinhee, and Mattias Frey, eds. 2014. Cine-ethics : ethical dimensions of film theory, practice and spectatorship. New York: Routledge.
Creed, Barbara. 1993. The Monstrous-Feminine: Film, Feminism, Psychoanalysis. New York: Routledge.
De Palma, Brian. 1976. Carrie. Hollywood: MGM.
Fujita, Toshiya. 1973. Lady Snowblood. USA: Toho Co., Ltd., Criterion Collection.
Kozma, Alicia. 2012. “Pinky Violence: Shock, awe and the exploitation of sexual liberation.” Journal of Japanese and Korean Cinema 3 (1): 37–44.
Lindsey, Shelley Stamp. 1991. “Horror, Femininity, and Carrie’s Monstrous Puberty.” Journal of Film and Video 43 (4): 33–44.
Matusa, Paula. 1977. “Corruption and Catastrophe: De Palma’s Carrie.” Film Quarterly 31 (1): 32–38.
Mitchell, Neil. 2013. Devil’s Advocates: Carrie. New York: Columbia University Press.
Mulvey, Laura, and Anna Backman Rogers. 2015. Feminisms: Diversity, Difference and Multiplicity in Contemporary Film Cultures. Amsterdam: Amsterdam University Press.
Platz, Jenny Ann. 2011. “Quentin Tarantino and the revisit of the active women in exploitation films.” Ph.D. diss., San Francisco State University.
Rife, Katie. 2018, Jul. A Tarantino-approved classic gets vibrant new life in The Complete Lady Snowblood. https://film.avclub.com/a-tarantinoapproved-classic-gets-vibrant-new-life-in-t-1798186177.
Sherlock, Ben. 2019, Mar. Quentin Tarantino’s Favorite Movies Of All Time, Ranked. https://screenrant.com/quentin-tarantinos-favoritemovies-time-ranked/.
Authors who publish with this journal agree to the following terms:
Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal. Note: up to volume 4 issue 1, an incorrect copyright line appears in the PDFs of the articles.
Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).