Fantasy Genre on Post-Pandemic Telly: Fissures in (Neo)Liberal Feminism of the House of the Dragon
This article is framed within the analysis of post-pandemic feminist narratives in serialized platform fictions, considering them as part of the social discourse. Particularly, we selected as a case study the first season of the series House of the Dragon, released in 2022. Our research uses a quali...
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| Autores principales: | , |
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Humanidades y Artes. UNR
2024
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| Acceso en línea: | https://zonafranca.unr.edu.ar/index.php/ZonaFranca/article/view/384 |
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| Sumario: | This article is framed within the analysis of post-pandemic feminist narratives in serialized platform fictions, considering them as part of the social discourse. Particularly, we selected as a case study the first season of the series House of the Dragon, released in 2022. Our research uses a qualitative methodology, focused on the analysis of the narrative dimension of the series: construction of characters, script, dialogues, plots and subplots. In order to do so, we considered the social analysis of the discourse, the analysis of cinematic storytelling and the study of the thematic audiovisual dimension. The anticipation of meaning, guiding our queries, was that the main plot of House of the Dragon constructs a (neo)liberal feminist discourse, which also prevails in its prequel Game of Thrones, but with certain fissures that imply ruptures and perpetuations of the myth of motherhood, of being sexually passive and of romantic love. The conclusions of our analysis show that the series we are working on discusses topics on the feminist agenda that are far from the (neo)liberal perspective: the criticism of marriage as an institution, pacifism and mourning. In addition, the feminist interpretation of this series, in which the demand of women's pleasure is the core story of the protagonist, led us to conclude that it is difficult to relate it with neoliberal feminism since this perspective does not have a language of desire. |
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