Virtual Bodies.

Abstract

Jean Luc-Godard stated at the beginning of his career that «all you need to make a film is a girl and a gun». The moral ambiguity of femmes fatales in film noir, the untrustworthy loyalty of women in Michelangelo Antonioni films or the anxiety beating in the female characters of a notable part of Chantal Akerman’s work have given way to a prototype of model born from the intersections between life and virtual reality, between the human body and its representation. From Catherine Trammell in Basic Instinct (Paul Verhoeven) to Milla Jovovich in Ultraviolet (Kurt Wimmer, 2006), cinematographic women have experienced a transition from the virtuosity of the heroines of the past to the virtuality of the bodies modelled for the latest action cinema.