紅色的房間里的theatrical sorrow and grief, 白色裙擺間的distorted kinship and female intimacy. 伯格曼在漸明漸暗的紅色中構(gòu)造(噩)夢(mèng)我竭力思考這其中是否有the space for further conceptual inquiry. No matter what,我反對(duì)將其作為某種poignant delineation of female relationship,因?yàn)樗廊粠в邢到y(tǒng)性中的normativity,而缺乏進(jìn)一步在自反中解讀死亡身體和the subtle queerness.
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