Deborah Martin’s video essay explores correspondences between sequences from The Innocents and Portrait of a Lady on Fire, in particular their figuring of gender, movement, and space. It shows how Portrait draws on the visual motif of the gothic heroine more obviously evoked in The Innocents, with her archetypal exploration of the recesses of a haunted or mysterious house, her white nightgown, and candelabra. The split screen makes evident certain similarities in the gothic conventions of mise-en-scène, and of the movement of women’s bodies in space.
View Not at home and read Prof Martin’s creator’s statement here: https://intransition.openlibhums.org/article/id/16319/