ABSTRACT

Zero Dark Thirty depicts its female protagonist as a leading strategic character in the fictionalised account of the hunt for Osama bin Laden. Yet, as this study argues, she is paradoxically framed in terms of her capacity to disrupt the status quo. Kathryn Bigelow’s Maya (Jessica Chastain) is often marginalised by the male-dominated culture within which she works. This is a recurrent theme in military/combat narratives, evident as far back as Ovid’s tale of the warrior woman Atalanta. Research challenges the idea that physical and psychological differences make women less fitted to active combat, yet Bigelow’s cinematography and staging establish a narrative that expresses a mythological fear and mistrust of women’s inclusion into the fraternal unit. In arguing that the fate of Maya represents a cultural template which extends back to ancient mythology, this study unpicks the ideological forces which inform Bigelow’s framing of her female protagonist.

摘要

零暗三十将其女性主角描绘为追捕奥萨马·本·拉登的虚构故事中的主要战略人物。然而，正如这项研究所论证的那样，她打破现状的能力自相矛盾。凯瑟琳·毕格罗饰演的玛雅（杰西卡·查斯坦饰）经常被她所工作的男性主导的文化边缘化。这是军事/战斗叙事中反复出现的主题，早在奥维德关于女战士亚特兰大的故事中就很明显。研究挑战了身体和心理差异使女性不太适合积极战斗的观点，但毕格罗的电影摄影和舞台表演建立了一种叙事，表达了对女性融入兄弟单位的神话般的恐惧和不信任。在论证玛雅人的命运代表了一个可以追溯到古代神话的文化模板时，