"It Was Perfect": Desire, Corporeality, and Denial in Darren Aronofsky's Black Swan by Mónica Calvo Pascual

“…Drawing on theories of gender and corporeality, my contribution focuses on the representation and implications of eating disorders and deliberate self-harm practices as portrayed in Darren Aronofsky’s feature film Black Swan (2010). Protagonist Nina Sayers is rendered as a perfectionist workaholic whose compulsions include scratching and peeling off her skin. …”
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A Woman by Nature? Darren Aronofsky’s <i>mother!</i> as American Ecofeminist Gothic by Alexandra Hauke

“…In this essay, I discuss Darren Aronofsky’s 2017 feature film <i>mother!</i> in the context of an intersectional approach to ecofeminism and the American gothic genre. …”
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The Black Swan di Darren Aronofsky. Lo specchio come indagine psicanalitica sulla pazzia by Francesca Casella

“…Darren Aronofsky's 'The Black Swan' is certainly one of the most emblematic and controversial movie of the recent years. …”
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Tarja Laine (2015) Bodies in Pain: Emotion and the Cinema of Darren Aronofsky, Oxford: Berghahn. 196pp. by Michelle Devereaux

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Representations of Non-Being in David Lynch’s Eraserhead, Edmund Elias Merhige’s Begotten, and Darren Aronofsky’s Pi: A Comparative Analysis from Indian Philosophy Perspectives by Paşcalău Cristian

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La (imposible) cuadratura del círculo. Pi, fe en el caos (Pi, Darren Aronofsky, 1998) y los límites del conocimiento científico by Enric Antoni Burgos Ramírez

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A Myth for the Sixth Mass Extinction: Telling Noah’s Story during a Climate Crisis by Nancy Menning

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Body Refractions by Steen Christiansen

“… Steen Christiansen's article Body Refractions examines Darren Aronofsky's 'Black Swan' and the notions of character identification and bodily transformation, arguing that the digital morphing of Black Swan suggests a different relation to the cinematic image, one which can only be understood in terms of affect rather than representation. …”
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Vicious Circles by Rodolfo Piskorski

“… The narrative produced around and by the characters in Darren Aronofsky’s 2006 film The Fountain serves to expose a fruitful path for Intersectional Theory other than the fight for social justice in public policy: an analysis of the ways in which even privileged subject positions are constructed in order to constitute a wide range of integrated discourses of difference. …”
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O Lago e o Cisne: Uma Análise de Cisne Negro em Cotejo com o Balé O Lago dos Cisnes by Mariana de Souza Coutinho, Renata Ciampone Mancini

“… Este artigo desenvolve uma análise comparativa entre o balé “O Lago dos Cisnes” (1877), de Piotr Ilitch Tchaikovsky, e o filme “Cisne Negro”(2010), dirigido pelo norte-americano Darren Aronofsky. Por meio da semiótica francesa, mergulhamos na narrativa do filme e procuramos entender como se dá a construção de sentidos e quais são as estratégicas depreendidas pelo diretor para estabelecer uma relação de intertextualidade ou mesmo uma tradução intersemiótica de “O Lago dos Cisnes”. …”
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From Impulse to Action—<i>Noah</i> (2014) and <i>Exodus: Gods and Kings</i> (2014) as Secular Bible Epics by Sylvie Magerstädt

“…Yet, while many biblical films of this period were primarily aimed at religious audiences, Darren Aronofsky’s <i>Noah</i> (2014) and Ridley Scott’s <i>Exodus:</i><i>Gods and Kings</i> (2014) stand out due to their broader epic appeal and religious skepticism. …”
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