{"id":825,"date":"2022-09-18T16:32:06","date_gmt":"2022-09-18T14:32:06","guid":{"rendered":"https:\/\/eeclectic.de\/?post_type=product&#038;p=825"},"modified":"2023-11-24T12:32:55","modified_gmt":"2023-11-24T11:32:55","slug":"eine-flexible-frau","status":"publish","type":"product","link":"https:\/\/eeclectic.de\/en\/produkt\/eine-flexible-frau\/","title":{"rendered":"Eine flexible Frau \u2013 Drehbuch und Materialien"},"content":{"rendered":"<p><em>Eine flexible Frau<\/em> (<em>The Drifter<\/em>, 2010) is Tatjana Turanskyj&#8217;s acclaimed film about precarious working conditions, self-promotion demands in the creative world of work and feminist aberrations in postmodern capitalism. With this publication, the script of the first part of the <em>Frauen und Arbeit<\/em> (women and work) trilogy is available as a text: The film script is on the one hand material and a basis for work and at the same time an independent form.<\/p>\n<p>Cultural scientist Angela McRobbie, who has been following Turanskyj&#8217;s work for a long time, introduces the material. The script is supplemented by preparatory material for the shoot from the filmmaker&#8217;s estate and by unpublished film clips.<\/p>\n<p>\u201cThe first inspiration for my film was Richard Sennet&#8217;s book \u2018The Corrosion of Character\u2019. Sennet describes the harsh demands of postmodern capitalism on the individual. [&#8230;] The more affirmative female characters \u2013 the City of Women \u2013 are contrasted by my heroine. She is a critic and doubter who tries in vain to adapt to the circumstances without losing her autonomy and dignity. But it is made clear to her that this can no longer be done \u2013 the price of adaptation would be the abandonment of her critical attitude towards the world.\u201d Tatjana Turanskyj<\/p>\n<p>The publication is published as a memorial and a call to \u201ccarry on\u201d (weitermachen*) on the first anniversary of Tatjana Turanskyj&#8217;s death on 18 September 2022.<\/p>","protected":false},"excerpt":{"rendered":"<p><span class=\"TextRun SCXW241052636 BCX0\" lang=\"EN-GB\" xml:lang=\"EN-GB\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW241052636 BCX0\">Screenplay of the first part of the <\/span><\/span><span class=\"TextRun SCXW241052636 BCX0\" lang=\"EN-US\" xml:lang=\"EN-US\" data-contrast=\"none\"><em><span class=\"NormalTextRun SCXW241052636 BCX0\">Frauen und <\/span><span class=\"ContextualSpellingAndGrammarError SCXW241052636 BCX0\">Arbeit<\/span><\/em>\u00a0<\/span><span class=\"TextRun SCXW241052636 BCX0\" lang=\"EN-GB\" xml:lang=\"EN-GB\" data-contrast=\"auto\"><span class=\"NormalTextRun SCXW241052636 BCX0\">trilogy<\/span><span class=\"NormalTextRun SCXW241052636 BCX0\"> with film clips and a foreword by Angela McRobbie<\/span><\/span><\/p>\n","protected":false},"featured_media":11932,"template":"","meta":{"inline_featured_image":false,"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"default","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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