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Perhaps today you actually feel like fox Hunt, as a young woman with her own head and self-determined career plan in lion’s Pit Hollywood: haunted by a pack of adrenalin pumping young men, always on guard against suddenly emerging obstacles . This action scene is start of reboot of jump-and-run video game, Tomb Raider, by Norwegian director Roar Uthaug, who has been in aters since Thursday.
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Fox Hunt is called race between bicycle couriers, in times of diesel scandal new gladiators of road. The aim is for fox, in this case a vixen, to come to target in front of follower – across Mad London rush hour, ignoring all traffic rules. Lara Croft, a designated family heiress who successfully displaced far’s death and is messengering over water as a bicycle, accepts challenge to delight of her mischievous colleagues. They’re laughing fast.
Shorts, Tanktop and wide
The breakneck chase on two wheels is (unfortunately far too early) climax of Tomb Raider, which has taken on a complicated task. In a phase in which powerful action heroines and feminist superwomen belong to good tone in Blockbusterkino, he complains about his contribution to female empowerment. The Tomb Raider heroine Lara Croft is a very difficult figure for this.
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In its introduction to male-dominated game market in mid-nineties, young archaeology, a counter-design to Indiana Jones, picked up from Super Mario and whipping boys from Mortal Kombat series through ir pin-up form: shorts, Tanktop and unloading Topmost – According to developer company Crystal Dynamics, to distinguish physiognomy of female figure in pixelated 32-bit era from its male counterparts. That’s right. The nineties were anor time, and Harvey Weinstein celebrated his greatest success.
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Lara Croft has been subjected to an image correction in recent years to smooth contradiction between male fantasy and feminist icon. Here game industry was faster than Hollywood. In cinema, Swede Alicia Vikander took over ungrateful role of Angelina Jolie, who was still fuelled by her dubious nimbus of sexiest woman alive. Vikander is latest growth in ensemble of new action actresses. She joins Scarlett Johansson, Gal Gadot, Charlize Theron, Jennifer Lawrence and Lupita Nyong with her black Panr Girl walk, which is just energetically tidying up with outdated role-images in Hollywood.
Girls with guns were always a Jungsfetisch
Not that women with guns in Hollywood in mselves mean a turn of times. They always existed: Sigourney Weaver on alien hunting, kill-bill-star Uma Thurman in “Pussymobil”, Michelle Rodríguez in fast-and-furious movies. But look at female figures changes and thus requirement profile to an action heroine.
The image of fighter is basically since ancient sexualized: from Amazons of Greek legends, to Wagner’s ereal Valkyries, to heroines inspired by Angela Davis of Blaxploitationkinos with ir afros. Of course, iconography weapons behemoth women per se are not feminism. Even in films of Quentin Tarantino, girls with guns were always a Jungsfetisch, which even Godard had decayed. It refore depends on details, on staging of body images and camera’s view regime.
Given economic dimension of modern mega franchises, current wave of action heroines can be a regular re-branding offensive. Scarlett Johansson, who at beginning of her career herself was often occupied enough in role of blonde men’s fantasy, invented herself as a fighting machine (Lucy) and Super Heroine (The Avengers) new, Gal Gadot (Wonder Woman) came to benefit from her education in Israeli army and Charlize Theron Kaperte remake of end time classic Mad Max, she demoted grunting title hero to stooge. Director George Miller had specifically consulted Eve Ensler, author of The Vagina Monologues, for a “feminist action film”. At his Mad Max: Fury Road must all compete in future.