|The Cinema of Kathryn Bigelow
Edited by Deborah Jermyn and Sean Redmond
Wallflower Press - 2002
|Essays written by a collection of film theorists
have been gathered together about the work of Kathryn Bigelow. I found each writers
interpretation insightful as to why and how Bigelow makes psychological and cinematic
choices in the films she makes.
I found the essays on THE LOVELESS, NEAR DARK, POINT BREAK and STRANGE DAYS the most absorbing. There is one chapter that I found a bit too academic and is bogged down with psychoanalytical jargon.
The common theme that runs throughout the essays is that Kathryn Bigelow makes films where the sex of the characters becomes androgynous. For example, if you look at short hair styles of many of her female characters; Jenny Wright in NEAR DARK, Jamie Lee Curtis in BLUE STEEL or Lori Petty in POINT BREAK they all are male like fashioned. On the other hand the men have soft feminine traits; Adrian Pasdars non-aggressiveness in NEAR DARK, Ron Silvers submissiveness in BLUE STEEL, Keanu Reeves physical inability in the most intense times in POINT BREAK. It is pointed out that Ralph Fiennes and Angela Bassetts relationship in STRANGE DAYS was almost a role reversal of sexes, which is true if you think about it.
Whats nice about reading a book like this is that it isnt normal magazine fluff or promotional hype for a motion picture release. Kathryn Bigelows career is given deep reflection and the thoughts in this book illuminate her work from an intellectual perspective.