Skip to main content

Tul Rodríguez


In the modern society, the patriarchal organization has led to the denomination of women being constructed in relation to the position of men. In various fields of art and society since Renaissance, the man has been categorized as ‘the Subject’, the dominant figure and everyone else other than the man in the position of ‘the Other’. Cinema being an ideological reproduction of the society, has been a perpetrator of these different oppressive forms towards gender. La Pianiste (Michael Haneke, 2001) offers an alternate view of the female character in the fiction film through its portrayal of the protagonist, Erika Kohut. Especially in the genre of melodrama, major film studios tend to abide by conventions that propagate the issues regarding gender and the representation of women as ‘the Other’. In this respect, La Pianiste explores new perspectives of gender representation, challenging the conventions of melodrama. Through the analysis of the film, in which, the female character takes control as ‘the Subject’ instead of being portrayed as ‘the Other’, this research paper aims to provide observations that can offer an outlook in alternatives female representation and its impact genres and forms of the audio-visual media.