The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
7th Dec 05
⭐71.00%
: 26
Forrest Gump
23rd Jun 94
⭐84.66%
: 17
Baby Driver
28th Jun 17
⭐74.46%
: 9
Frozen
20th Nov 13
⭐72.48%
: 16
A Beautiful Mind
14th Dec 01
⭐78.56%
: 7
Rush
2nd Sep 13
⭐77.28%
: 6
Pulp Fiction
10th Sep 94
⭐84.87%
: 16
Fantastic Four
29th Jun 05
⭐58.00%
: 12
The Hangover
2nd Jun 09
⭐73.28%
: 17
Blade Runner
25th Jun 82
⭐79.00%
: 8
Deadpool 2
15th May 18
⭐74.89%
: 11
The Theory of Everything
7th Nov 14
⭐78.39%
: 6
Maleficent
28th May 14
⭐70.89%
: 10
Casablanca
15th Jan 43
⭐81.56%
: 5
The Empire Strikes Back
20th May 80
⭐84.00%
: 7
Catch Me If You Can
16th Dec 02
⭐79.79%
: 13
Create with Love ❤️ by Zaw Myint
Jennifer, Where Are You?
⭐70.00% /
1st Jan 81 /
Jennifer, Where Are You? is structured by a speech-act, a constant proleptic call, a man’s voice which has been edited and recut into a repetitive and pervasive presence. The insistence of this male voice, which repeats the phrase “Jennifer! Where are you?” every 30 seconds, parodies the authority conceded to voice-overs in the cinema. The voice is patriarchal, relentless, and runs the entire length of the film. Cut-aways to a small girl, glancing at the camera as she plays with lipstick and matches, reapportion the relation between patriarchal phonocentrism and masculine gaze. But is this small child subject to either? No. Not really. There she is, hiding in plain sight–ours, not ‘his’–a ‘purloined subject’ successfully evading subjugation through response or acquiescence. ‘Jennifer,’ whoever she might be (a cipher, a pseudonymous textual marker of gendered cinematic presence) is never apprehended, and the film, for all of its suspense, simply ends.