Presentation and Interpretation of Power Dynamics within Character Transformations: Darren Aronofsky’s ''mother!''

Authors

  • Katarina Bošnjak University of Sarajevo, Dept.of Architecture

DOI:

https://doi.org/10.54889/issn.2744-208X.2022.2.1.51

Keywords:

film, religion, Darren Aronofsky, architecture, divine representation

Abstract

The movie mother! is a psychological horror movie, written and directed in 2017 by Darren Aronofsky. The plot of the movie revolves around a couple living in an isolated house, as their serene lives become thrown into disarray by a series of bizarre events started by the arrival of a mysterious couple and many other strange guests. This movie is known for its representation of biblical symbolism, with underlying warnings of the inevitable self-destruction of human race through their historically repetitive torment of Mother Earth.The main topic of this article is going to be an analysis of the symbolic milieu of the movie, with special attention to the depiction of power dynamics of the represented (divine) feminine and masculine, as well as power relations of the characters, in general. In that process, we hope to understand the stages of their transformation, with regards to the question of the nature of their transformation - was it social or structural? Interpretation of the transformation and its nature, we also contemplate the nature of recognized process of othering in the movie, that relies on the root of the recognized power relations? All of these questions are explored through interpretation of symbolic communication, in which the architectural setting acts as a character "anchor" and a sustenance for its development, as well as the indicator and medium of its transformation.

Downloads

Download data is not yet available.

References

Anon. (1987) Biblija. Zagreb: Kršćanska sadašnjost

Bordo, S. (1996) ''The Feminist as Other''. Metaphilosophy, Volume 27, pp. 10-27. DOI: https://doi.org/10.1111/j.1467-9973.1996.tb00864.x

Brownmiller, S. (1985) Femininity. First Ballantine Books ed ed. New York: Fawcet Columbine

Cooper, C. (2014) ''The House as Symbol of the Self'' (1974). In: J. J. Gieseking & W. K. C. L. S. S. S. Mangold, eds. The People, Place, and Space Reader. London: Routledge, pp. 130-146.

Desowitz, B. (2017) IndieWire. (Online) Available at: https://www.indiewire.com/2017/09/mother-darren-aronofsky-house-of-horrors-production-design-1201877929/ (Accessed: 14 October 2021)

Doyle, K. O. (1992) ''The Symbolic Meaning of House and Home: An Exploration in the Psychology of Goods''. American Behavioral Scientist, 35(6), pp. 790-802. DOI: https://doi.org/10.1177/0002764292035006013

Eliade, M. (1959) The Sacred and the Profane: The Nature of Religion. New York: Harcourt, Brace & World, Inc.

Jung, C. (1965). Memories, Dreams, Reflections. New York: Random House

mother!. (2017) (Film) Directed by Darren Aronofsky. United States: Protozoa Pictures

Mulvey, L. (1989) Visual and Other Pleasures. New York: Palgrave DOI: https://doi.org/10.1007/978-1-349-19798-9

The Pervert's Guide to Cinema. (2006). (Film) Directed by Sophie Fiennes. United Kingdom, Austria, Netherlands: Mischief Films and Amoeba Film

Turner, V. (1974) Liminal to liminoid in play, flow and ritual: An essay in comparative symbology. Rice University Studies, pp. 53-92.

Downloads

Published

2022-12-12

How to Cite

Bošnjak, K. (2022). Presentation and Interpretation of Power Dynamics within Character Transformations: Darren Aronofsky’s ’’mother!’’. THE LOGICAL FORESIGHT - Journal for Logic and Science, 2(1), 51–71. https://doi.org/10.54889/issn.2744-208X.2022.2.1.51