(500) Days of PostfeminismA Multidisciplinary Analysis of the Manic Pixie Dream Girl Stereotype in its Contexts

  1. Vázquez Rodríguez, Lucía Gloria 1
  1. 1 Universidad Complutense de Madrid
    info

    Universidad Complutense de Madrid

    Madrid, España

    ROR 02p0gd045

Revista:
Prisma Social: revista de investigación social

ISSN: 1989-3469

Año de publicación: 2017

Título del ejemplar: Investigación en Comunicación Audiovisual y Estudios de Género

Número: 2

Páginas: 167-201

Tipo: Artículo

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Otras publicaciones en: Prisma Social: revista de investigación social

Resumen

En 2007, tras haber visto el film Elizabethtown(2005), el crítico cinematográfico Nathan Rabin acuñó el término Manic Pixie Dream Girl para describir el nacimiento de un tipo de protagonistas femeninas caracterizadas por su joie de vivre y superficialidad, criaturas solamente existentes en la imaginación febril de sensibles guionistas-directores, cuyo único cometido es enseñar a estos hombres solitarios a abrazar la vida en sus infinitos misterios y aventuras (2007). Desde entonces, a pesar de que este tipo de protagonistas se han multiplicado, y el término ha sido absorbido por la cultura popular, no se ha realizado un solo análisis académico de dicho estereotipo y su ideología de género, quizás debido a la pátina de credibilidad ideológica otorgada por el cine independiente (indie) en el que se enmarca. Sin embargo, la Manic Pixie Dream Girl, con su representación nostálgica de femineidad aniñada y «mona» (Ngai, 2012), su vulnerabilidad, su libertad sexual neoliberal, y, sobre todo, su ser-para-el-Otro, quizás constituya la más potente encarnación de las ideologías postfeministas dentro del cine independiente. Asimismo, su filosofía carpe diem y su estética hipster hablan de la idiosincrasia específica de nuestra era, caracterizada, según Slavoj Zizek (1994), por un mandato social hacia el disfrute hedonista.

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Fuente de los datos: Dialnet