• DOI:10.15406/ahoaj.2019.03.00118
• Corpus ID: 212561557

Incompleteness and punishment in the female body: mad max; fury road

@article{Sanabria2019IncompletenessAP,
  title={Incompleteness and punishment in the female body: mad max; fury road},
  author={Carolina Sanabria},
  journal={Arts \& Humanities Open Access Journal},
  year={2019}
}

• Carolina Sanabria
• Published 2019
• Art
• Arts & Humanities Open Access Journal

This essay focuses on a study of the film Mad Max: Fury Road.1 This is the fourth installment of the series starring and popularized by Mel Gibson that started in the late 80s: Mad Max,2 followed by Mad Max: The Road Warrior3 and the third Mad Max beyond Thunderdome4 with an antagonistic role of Tina Turner. The development of the study is made from an analysis of the devices from which separation occurs over previous series. As they had been developed each film, settling in the filmic imaginary, obtaining presence and thereby increasing its budget from the same narrative set -with a protagonist, a stage and comunesplot, the last of deliveries bill breaks the inaugural production of the film. The focus of the study focuses specifically on the character female protagonist who is away from the traditional role hegemonic films especially action as an object of display or the status of “be-looking-ness” (to-be-looked-at-ness) coined by Laura Mulvey from the articulation of notions such as lack in his case is underlined with the added component of the machine and about the concept of cyborg. However, despite the distance apparently passive idealized feminine image that usually dominate eroticized Hollywood movies, Mad Max: Fury Road maintains and reaffirms the sexual binary. From the argument linking operational concepts, the analysis is primarily qualitative and interdisciplinary type.