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Please use this identifier to cite or link to this item: https://hdl.handle.net/2445/216925
De La Prisionera a La Captive: el celoso y el deseo en Marcel Proust y Chantal Akerman
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[spa] La Prisionera de Marcel Proust se erige como un tratado sobre los celos y el deseo masculino, articulado desde el dominio y la fetichización de la mujer. El análisis de la figura del celoso literario muestra conexiones con los conceptos de la male gaze y el voyerismo, mecanismos que responden a una concepción del deseo esencialmente masculina. Por ello, como respuesta a la hegemonía de esa mirada masculina, desde la teoría cinematográfica feminista se han propuesto distintos modelos para constituir una alternativa al cine clásico. En el presente trabajo, nos centraremos en La Captive, adaptación de La Prisionera, dirigida por Chantal Akerman. El análisis del filme y su relación con el texto literario original nos mostrarán la reconceptualización del celoso proustiano que acomete la directora y cómo la introducción de la mirada femenina reconfigura el relato y aporta nuevas reflexiones sobre el deseo, los celos y la obsesión.
[eng] Marcel Proust’s The Prisoner stands as a treatise on jealousy and masculine desire, articulated around the dominance and fetishization of women. that conceives women only as an object. The analysis of the literary jealous shows its connections with the concepts of male gaze and voyeurism, mechanisms that respond to an essentially masculine conception of desire. Therefore, in response to the hegemony of that male gaze, different models have been proposed by feminist film theorists to constitute an alternative to classic cinema. In this work, we will focus on La Captive, an adaptation of The Prisoner, directed by Chantal Akerman. The analysis of the film and its relationship with the original literary text will show us the director’s reconceptualization of the Proustian jealous and how the introduction of the female gaze reconfigures the story and provides new reflections on desire, jealousy, and obsession.
[eng] Marcel Proust’s The Prisoner stands as a treatise on jealousy and masculine desire, articulated around the dominance and fetishization of women. that conceives women only as an object. The analysis of the literary jealous shows its connections with the concepts of male gaze and voyeurism, mechanisms that respond to an essentially masculine conception of desire. Therefore, in response to the hegemony of that male gaze, different models have been proposed by feminist film theorists to constitute an alternative to classic cinema. In this work, we will focus on La Captive, an adaptation of The Prisoner, directed by Chantal Akerman. The analysis of the film and its relationship with the original literary text will show us the director’s reconceptualization of the Proustian jealous and how the introduction of the female gaze reconfigures the story and provides new reflections on desire, jealousy, and obsession.
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Treball del Grau d’Estudis Literaris. Curs 2023-2024, Tutoria: Dr. Víctor Escudero Prieto. VI Premi Clara Campoamor al millor Treball Final de Grau amb perspectiva de gènere de la Universitat de Barcelona, curs 2023-202. Menció honorífica.
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FÉLIX MENJÍBAR, Ariadna. De La Prisionera a La Captive: el celoso y el deseo en Marcel Proust y Chantal Akerman. [consulted: 7 of August of 2026]. Available at: https://hdl.handle.net/2445/216925