ENG 3940: Ireland Onscreen

Crying Game recap

Apologies again for keeping class so far past our end time! I wanted to get ultimately to the question of the ideological implications of the film’s depiction of an atavistic IRA and what I was calling its “gynophobic economy of desire” (a term I borrow from Susan Stanford Friedman). While the film throughout shows the multiplicity of disguises and masks available as tools or weapons to characters in disempowered positions, I would argue that it ultimately doubles down on fixed characteristics (what’s “in your nature”) that lie beneath such performativity. In this move it casts both gender and politics as both enabling fictions and irresolvable truths, a contradictory, pessimistic, and ultimately passive stance to take.