In a similar way, Marynowsky’s use of 90s nostalgia, embodied by Pretty Woman, Indecent Proposal, Species and Shakespeare in Love in her four-channel video work Coming Attractions interrogates the use or presence of women as objects, heroines, and concepts in film. ‘Defacing’ the female leads of the four films with a knife and ink, Marynowsky inscribes an alternative face and interpretation onto familiar characters. It is an act of laborious aggression – the Pretty Woman trailer alone consists of 4,200 frames, each meticulous scarred by Marynowsky.
In this sense, she redirects and reimagines these films through the lens of Barbara Creed’s theory of the ‘Monstrous Feminine’, the conception of womanhood as a Gemini being of beauty and ugliness. Creed conceives of the Monstrous Feminine as the manner in which a woman – typically in horror films and thrillers – horrifies the viewer through her sexuality. Marynowsky physically etches this concept onto 90s cinema.