Dissertationen: „Hispanic American women in motion pictures“

1

Yang, Jing. „The construction of the Chinese woman in 1990s American cinema“. Click to view the E-thesis via HKUTO, 2010. http://sunzi.lib.hku.hk/hkuto/record/B43813185.

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2

Davis, William. „To make the better film movies, women's clubs and the fight over censorship in the American South, 1907-1934 /“. View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-3/davisw/williamdavis.pdf.

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3

Phillips, Julie D. „Rape myths in the American movie industry : a content analysis and feminist criticism“. Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941729.

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This study explored rape depictions and rape myths in the mainstream American filmindustry. Four rape myths pervade American culture. The myths argue that women "ask" for rape, "deserve" rape, lie about rape, and are not really hurt by rape. These myths place blame on the victim and absolve the rapists on any wrongdoing. Furthermore, these myths attempt to justify male sexual aggression against women.This study explored film's portrayal of the rape event, the victim, the rapist, and the depiction of specific rape myths. A content analysis of 16 American films released between 1982 and 1994 revealed 27 victims of rape. The content analysis also provided a descriptive analysis of the rape event while a feminist analysis revealed the films' underlying ideological underpinnings.The content analysis revealed that the films distort rape by consistently portraying the rapist and victim as young white, middle class men and women. Additionally, the relationship between victim and rapist was distorted as well as the legal aftermath of the rape.The feminist analysis revealed that films perpetuate rape myths more frequently than they challenge these myths. In some instances, films presented the reality of rape, particularly the environment the victim would enter. Most films, however, advanced patriarchal beliefs about rape.
Department of Journalism

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4

Watkins, Jessica. „From fallen women to risen heroines representations of gender and sexuality in American film, 1929-1942 /“. Huntington, WV : [Marshall University Libraries], 2005. http://www.marshall.edu/etd/descript.asp?ref=539.

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5

Ward, Katherine. „Tracing the heroine in masculine spectacle : gender, technology, and the role of the destroyer in recent American film“. Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56771.

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This thesis explores the changing relationship of power, technology, and gender in recent Hollywood films. Beginning with ideas of gender "truths" in philosophical thought, I posit that the representation of violence is inseparable from the notion of gender, and that ideas of gender are always historically specific.
I examine masculinity and aggression in Vietnam films, arguing that masculinity must struggle to renew its privilege and its illusion of purity.
Finally, I examine combat roles for women where the heroines have accessed "male" technology to become subjects of the social act. I conclude that these representations offer a possible female subjectivity and resistance to patriarchal assimilation only when the ambivalence and fragility of that subjectivity is recognized.

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6

Yang, Jing, und 杨静. „The construction of the Chinese woman in 1990s American cinema“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B43813185.

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7

Esquivel-King, Reyna M. „Mexican Film Censorship and the Creation of Regime Legitimacy, 1913-1945“. The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555601229993353.

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8

Karceski, Julie Wilkins Lee. „Smart, sultry and surly a textual analysis of the portrayal of women scientists in film, 1962 - 2005 /“. Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6663.

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Title from PDF of title page (University of Missouri--Columbia, viewed on March 10, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Thesis advisor: Dr. Lee Wilkins. Includes bibliographical references.

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9

Reed, Nannie Natisha. „'TAMING OF THE SHREW':DIALECTICS OF AFRICAN-AMERICAN WOMEN'S RAGE IN DOMINANT AMERICAN FILMIC DISCOURSE“. Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1145674408.

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10

Wellborn, Brecken. „Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical“. Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.

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11

White, Theresa Renee. „Media as pedagogy and socializing agent influences of feminine beauty aesthetics in American teen-oriented films and magazines on African American adolescent female self image /“. Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610103761&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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12

Wellborn, Brecken. „Musicals and the Margins: African-Americans, Women, and Queerness in the Twenty-First Century American Musical“. Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.

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13

Burton, Mary Ashley. „Contextos nacionales y transnacionales: la nueva reencarnación del melodrama mexicano en la película Bella (2006, Alejandro Monteverde)“. Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1334192023.

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14

Davis, Tristan A. „Is this Lady-like? The Portrayal of Women's Relationship with Food in American "Working Girl" Sitcoms between 1966 and 2017“. Kent State University Honors College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1588251948629127.

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15

Thomas, Quincy D. „Lycra, Legs, and Legitimacy: Performances of Feminine Power in Twentieth Century American Popular Culture“. Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1521852471021414.

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16

Tohline, Andrew M. „“Around the Corner”: How Jam Handy’s Films Reflected and Shaped the 1930s and Beyond“. Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1248295030.

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17

Meaney, Carol Susan. „Return of the witch the scapegoating of the unredeemable woman in modern American cinema /“. 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3110657.

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18

Puente, Henry Schatz Thomas. „The promotion of U.S. Latino films“. 2004. http://wwwlib.umi.com/cr/utexas/fullcit?p3143452.

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19

Lim, Kevin. „Asian North American film : images, reactions and criticisms /“. 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR38801.

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Thesis (M.A.)--York University, 2008. Graduate Programme in Film.
Typescript. Includes bibliographical references (leaves 86-91). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR38801

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20

Puente, Henry. „The promotion of U.S. Latino films“. Thesis, 2004. http://hdl.handle.net/2152/1296.

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21

Allan, James L. „Fast friends and queer couples: Relationships between gay men and straight women in North American popular culture, 1959–2000“. 2003. https://scholarworks.umass.edu/dissertations/AAI3110464.

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The idea that gay men and straight women have much in common has a long cultural history, as seen in the work of sexologists, feminists, sociologists and cultural historians from the late 19th onward. Stories of relationships between gay men and straight women have been a significant, recurring phenomenon in American popular culture throughout much of the twentieth century, and the period from the late-1950s onward marks a time when such relationships became increasingly prevalent. With the weakening of Hollywood's self-censoring Hays Code and the maturing of television as a mass-market medium, the late-1950s/early-1960s saw the development of openly gay male characters who frequently shared friendships with straight women. Films and television shows featuring this dynamic grew more numerous and circulated more widely as time passed, but these developments progressed differently and at different rates for film and television. This study investigates the development, circulation and reception of representations of the gay-man/straight-woman duo as a cultural figure in North American film and television during the latter half of the twentieth century. As a set of texts in which sex and gender mediate each other in powerful ways, these gay-man/straight-woman stories produce rich analytic possibilities. Drawing on textual analysis, socio-historical context, and audience research, the project outlines the major relationship dynamics found in these gay-man/straight-woman texts (mother-and-son; perfect-couples; gals-and-pals), the historical shifts in their production and popularity, and the implications they hold for the ways our culture imagines relationships between men and women. Despite their gay cachet, the majority of these texts re-circulate normative clichés about gay male and straight female subjectivities and relationships, patterns that reproduce conventional, conservative thinking about who holds and deserves power and respect in our culture. Yet a few of these texts also provide alternative models for relationships between men and women, gay and straight, that contribute to more expansive possibilities for all: a culture of queer variations and relations. These examples affirm the emotional, social and affective value of relationships that cannot be neatly categorized into familial or romantic models, and argue for the importance of friendship as a form of social practice.

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22

Beltrán, Mary Caudle. „Bronze seduction the shaping of Latina stardom in Hollywood film and star publicity /“. 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3108457.

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23

Beltrán, Mary Caudle. „Bronze seduction: the shaping of Latina stardom in Hollywood film and star publicity“. Thesis, 2002. http://hdl.handle.net/2152/456.

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24

Patterson, Kendra. „Sex and war : the mythic dimensions of economics and politics : the United States and its filmic relations with Japan, 1983-1993“. Thesis, 2004. http://hdl.handle.net/1885/151156.

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Dissertationen zum Thema „Hispanic American women in motion pictures“

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