Feminism, Capitalism, Death
Neoliberal Womanhood and the Post-Soviet Person in Anna Melikyan's Mermaid
DOI:
https://doi.org/10.55016/ojs/muj.v2i2.79764Keywords:
Neoliberalism , postfeminism, post-Soviet, framing, discourse, capitalismAbstract
This piece works as a critique of neoliberal feminist ideology through an analysis of Anna Melyikan’s 2007 film Mermaid. It begins with a close reading of several scenes in the film and how they operate as a criticism or representation of neoliberal post-Soviet existence. Alissa, the protagonist, is subjected to a series of events which shape her life as a post-Soviet woman—these events ultimately lead to her untimely death. The theme of labour, financially, domestically, and sexually, defines Alissa’s life in Moscow. I use a sociological study on Russian post-Soviet self-help literature written for women as the ideological lens to study the film, drawing connections between the events of the film and the real contents of several self-help books, which are analysed and critiqued by the article’s author. The film visualises a patriarchal double-bind where post-Soviet women are expected to be both patriarchally subordinate and independent economic subjects. This paradox is present in the self-help literature. The essay forges a connection between real-life feminist critique and film criticism, exploring how film criticism can be a vehicle for feminist thought. The essay also interrogates ideas of what a feminist text is and how the creation of a feminist text is an act of discursive meaning-making, a relationship to the viewer/reader as opposed to a definitive quality which takes shape during the text’s creation.
References
Cixous, H, et al. (1976). The laugh of the Medusa. Signs, 1(4), 75–93.
Kuhn, A. (1994) Passionate detachment. Women’s pictures: Feminism and cinema,1–18.
Melikyan, A, 2007. Mermaid. Magnum.
Salmenniemi, S, and Adamson, M. (2015), New heroines of labour: Domesticating post-feminism and neoliberal capitalism in Russia. Sociology, 49(1), 88–105.
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