By Bo Kampmann Walther, Heidi Philipsen, Lise Agerbæk, Norbert Wildermuth, Lars Bo Løfgreen, Anette Grønning, Cynthia Grund, Jesper Pilegaard
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Extra resources for Designing New Media - Learning, Communication and Innovation
While this is a naming practice that brings to the fore the impersonal relation between the women killed and their killer, it makes inconspicuous the gendered nature of his act; for he did not kill indiscriminately, he targeted women whom he constituted as feminists and thus as his enemy. Moreover,“Montreal” inscribes a geographic reference but obscures the specificities of the site, the victims, the political motivation, the killer. Similarly, “Poly,” while referencing the site, depends heavily for its interpretation on access to and knowledge of local discourses.
In the late 1980s and early 1990s movies in this category included: Fatal Attraction (1987), The Hand That Rocks the Cradle (1991), Single White Female (1992), and Basic Instinct (1992). These productions introduce pathologically manipulative and violent females who threaten or take the lives of men and other women but whose beauty and charms mask their evil natures. Over the past four decades portrayals of women’s violence have consistently relied upon the same formulaic stereotypes. As a case in point, Swimfan (2002) is a Fatal Attraction for teenagers and relies on the same plot: a young, blond, unstable, sexual, and manipulative teenage girl sleeps with a young popular guy from the swimming team.
What does an ambivalent public memory suggest about the difficulty of coming to terms with and working through the legacy of the massacre? If it suggests, as I propose, that contemporary social and political conditions constrain memorial politics, then how might engagement with ambivalent memory act on those conditions? Figure 7 Nave for Fourteen Queens—“G” in Steel, Montreal (with permission of Sharon Rosenberg). 29 30 [ section 1 ] History, Memory, and Mediations of Murder The Ma(r)king of an Event Gun control legislation, efforts to increase the number of women in engineering programs, and the design of monuments7 can be readily understood as strategic remembrance practices—practices that tie the legacy of the Montreal massacre into contemporary political efforts to achieve a redeemed future.