English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

espanolEn los ultimos anos y alrededor del mundo, ha habido una proliferacion de peliculas y series de television que toman lugar en bosques. Las estructuras de estas historias a menudo difieren segun el sexo del protagonista: si los protagonistas son hombres, el bosque suele ser un lugar de horror, pero cuando los protagonistas son mujeres, los bosques se convierten en sitios de transformacion. Mirando el trabajo de Maureen Murdock en El viaje de la heroina, Joseph Campbell en El viaje del heroe, y el modelo de Catherine Addison sobre como se representa el bosque en la literatura clasica, este articulo considera como el viaje interno de los personajes femeninos se refleja o resuena en el bosque. Las peliculas discutidas abarcan varios generos (drama, supervivencia, crimen, horror, ciencia ficcion) e incluyen Leave No Trace/Sin dejar huella, Deliverance/La violencia esta en nosotros, The Grey/Infierno blanco, Destroyer, Zone Blanche, The Ritual, The Hallow, Without Name, Dans la foret, The Blair Witch Project, The Forest, Mad Max: Fury Road/ Furia en el camino, Annihilation y Aeon Flux. La tentacion de hablar sobre estas peliculas en dicotomias, como Heroe/Heroina, Masculino/Feminina, ilustra la necesidad de determinar una nueva terminologia para reflejar formas mas nuevas de pensar acerca de la complejidad de las historias mas alla del sexo del protagonista. EnglishIn the past few years, there has been a proliferation of films and television series around the world that are set in forests. These stories’ structures often differ depending on the gender of the protagonist: If the protagonists are men, the forest is usually a site of horror, but when the protagonists are women, the forests become sites of transformation. Looking at Maureen Murdock’s The Heroine’s Journey, Joseph Campbell’s The Hero’s Journey, and Catherine Addison’s model for how the forest is represented in classical literature, this paper considers how the internal journey of female characters is reflected in or resonates with the woods. Films discussed range across multiple genres (drama, survival, crime, horror, science fiction) and include Leave No Trace, Deliverance, The Grey, Destroyer, Zone Blanche, The Ritual, The Hallow, Without Name, Dans la foret, The Blair Witch Project, The Forest, Mad Max: Fury Road, Annihilation, and Aeon Flux. The temptation to talk about these films in dichotomies, such as Hero/Heroine, Masculine/Feminine, illustrates our need for new terminology to reflect even newer ways of thinking about the complexity of gendered protagonists in stories.

To Lose My Mind And Find My Soul.1 The Masculine and Feminine in Films Set in the Forest