Laura Antón-Sánchez e-mail(Login required)

Main Article Content


Laura Antón-Sánchez e-mail(Login required)


This article gives a historical perspective on the route traced by women investigators in Hollywood audiovisual narrative. The starting point and main focus of the thrilling detective story at the heart of the enigma regarding being a woman is the character of Lila Crane (Hitchcock’s Psycho, 1960). The split structure of this horror film masterpiece, defined by literary reviews as a classic example of a tale of modernity, offers a subversive view of women’s issues in audiovisual discourse. To assess the audiovisual legacy of Lila, we selected a series of audiovisual texts which draw attention to a cultural dialogue with this modern character. A two-fold trend can be seen in these references: the confrontation between a progressive audiovisual narrative and a retro-narrative aimed at restraining the progress of this rule-breaking archetype.


Woman investigator, feminism, audiovisual culture, identity, retro-narrative, neo-noir.


Antón, L. (2014). El drama pasional de la mujer investigadora. Un arquetipo femenino de la crisis. Fotocinema: revista científica de cine y fotografía, 8, 57-82.

Antón, L. (2016). La perspectiva Crane. La crisis de identidad femenina en Psicosis (A.

Hitchcock, 1960). Feminismo/s, 27, 53-78.

Antón, L. (2017). Reconociéndose como lo Otro. La narrativa audiovisual del re-encuentro de la mujer con el monstruo. Fotocinema. Revista científica de cine y fotografía, 15, 85-108.

Clover, C. J. (1992). Men, Women and Chain Saws in the Modern Horror Film. New Jersey: Princeton University Press.

Doane, M. A. (1987). Paranoia and the Specular. The Desire to Desire. The Woman's Film of 1940's (pp. 123-154). London: The MacMillan Press.

García Cortés, J. M. (1997). Orden y caos. Un estudio cultural sobre lo monstruoso en el arte. Barcelona: Anagrama.

Gates, P. (2011). Detecting Women Gender and the Hollywood Detective Film. New York: State University of New York Press.

Hutcheon, L. (1991). The Politics of Postmodern Parody. In Heinrich F. Plett (Ed.), Intertextuality (pp. 225-236). Berlin-New York: Walter de Gruyter.

Kaplan, E. A. (1983). Women & Film. Both sides of the camera. London: Taylor & Francis.

Neroni, H. (2005). The Violent Woman. Femininity, Narrative and Violence in Contemporary American Cinema. New York: State University of New York Press.

Paglia, P. (2006). Los pájaros. Barcelona: Gedisa.

Sánchez, Á. (2017, November 20). Casi la mitad de europeos cree que el rol más importante de la mujer es el cuidado del hogar. El País. Retrieved from Santamarina, A. (2012). 1996. Fargo. Joel y Ethan Coen (pp. 165-180). Madrid: Cátedra.

Suleng, K. (2017, August 23). Estas lecturas le pueden hacer más inteligente. El País. Retrieved from

Tasker I. (2013). Women in Film Noir. In A. Spicer & H. Hanson (Eds.), A Companion to Film Noir (pp. 353-368). Oxford: Blackwell Publishing Ltd.

Wager, J. B. (2005). Dames in the Driver’s Seat. Rereading Film Noir. USA: University of Texas Press.


Search GoogleScholar


Article Details