The spatial ideologies and narrative tropes of gendered victimhood, which are designed to induce fear and anxiety, are routinely employed to govern and restrict female access to and experience of urban spaces—both in cinematic depictions and in the real world. This paper explores how such tropes are challenged and rewritten in three screen narratives based in urban landscapes: London in Happy-GoLucky (2008), Paris in Amélie (2001), and New York in Sex and the City (1998–2004). Contrary to the ideologies of fear that routinely dominate urban narratives, I will argue that the texts under discussion instead display the city as a space of potential female sexual, social, and spatial emancipation—most notably achieved through employing the comedic genre to express the potentially subversive power of comedy in overthrowing gender and social hierarchies. My primary focus will remain on the narrative techniques that these texts employ to rewrite what I refer to as the “fear script” and to dismantle motifs of gendered victimhood.

中文翻译：

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开垦街道：调查女性电影中的城市暴力经历

旨在引起恐惧和焦虑的性别受害人的空间意识形态和叙事方式，通常被用来控制和限制女性进入和体验城市空间的方式（无论是在电影中还是在现实世界中）。本文探讨了如何根据三种基于城市景观的屏幕叙事来挑战和改写这些比喻：伦敦的Happy-GoLucky（2008），巴黎的Amélie（2001）和纽约的《欲望都市》（1998-2004）。与通常在城市叙事中占主导地位的恐惧意识形态相反，我将争辩说，所讨论的文本反而将城市显示为潜在的女性性，社会和空间解放的空间-最明显的是通过使用喜剧类型来表达喜剧在颠覆性别和社会阶层中的颠覆性力量。