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Thematische Bibliographien / Women in the motion pictures / Dissertationen

Dissertationen zum Thema „Women in the motion pictures“

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1

Van, Liew Maria. „Democratic women : gender, national discourse and the cinema of post-Franco Spain /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820983.

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2

Aich, Priyanka. „The construction and (re)presentation of Indian women in recent mainstream western cinema“. Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Fall2009/p_aich_112309.pdf.

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Thesis (M.A. in communication)--Washington State University, December 2009.
Title from PDF title page (viewed on Feb. 12, 2010). "Edward R. Murrow College of Communication." Includes bibliographical references (p. 107-115).

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3

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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4

Mejía, Glenda. „The representation of women in revolutionary Cuban cinema /“. [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19376.pdf.

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5

Kwok, Crystal Lee, und 郭錦恩. „Ghosts and goddesses: women, cinema, & the image“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31950978.

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6

Williams, Tami Michelle. „Beyond impressions the life and films of Germaine Dulac from aesthetics to politics /“. Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1467886421&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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7

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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8

O'Skea, Doreen Lynn. „Perpetual girlhood: what the movies have taught us about ourselves : a content analysis of Best Actress Academy Award-winning films from 1961-1997“. Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1133726.

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Empowered, embattled and embittered women seem to be everywhere in the media today. Either in film, on television or on the Internet, there are more and more women being shown in a variety of working roles. Women are being shown in nontraditional jobs, they are allowed to work in the man's world and they can take charge. All of these things are remarkable but a note of caution is needed, for while these women are working the boardroom the girls are taking over.Women in power are increasingly being shown as unattractive, undesirable and unpleasant. While their counterparts- girls, are shown as loving, lovable and sweet. Films are reinforcing the girlish archetypal ideal by allowing girls to be the winners in nearly all situations.Female characters may begin the story as independent women but they are soon shown the error of their ways and are quickly reduced to a more pleasant, more malleable girl by the film's end.The content analysis of 37 Best Actress Academy Awardwinning films revealed that women are reduced to girls nearly 87 percent of the time. These women gave up their careers, or at least their career goals. They changed their appearance, they altered their personal goals and they suddenly found a way to express more emotion than they ever had in their life as a woman.Further analysis revealed that several subthemes were present in the films. In 19 of the 37 films women were raped or they were the victims of attempted rape. In 12 of the 37 films women were widows, they either began the film as a widow or they were to shortly suffer the grief of widowhood. In 22 of the 37 women are the victims of violence or they are threatened with violence and in 15 of the 37 films the characters are threatened with the loss of their home or they are struggling to make the journey to their home.The final analysis revealed that women were either pitied, maligned, abused or raped while girls were celebrated, loved and adored.
Department of Journalism

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9

Kwok, Crystal Lee. „Ghosts and goddesses : women, cinema, & the image /“. Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14040220.

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10

Wong, Shuk-han Mary. „New Chinese cinemas and feminine writings“. Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21779041.

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11

Drake, Susan Wiebe. „María Félix the last great Mexican film diva : the representation of women in Mexican film, 1940-1970 /“. Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1118953316.

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Thesis (Ph.D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains viii, 177 p. Includes bibliographical references (p. 165-177). Available online via OhioLINK's ETD Center

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12

Field, Emma. „Only a trickle? : blood in detail and three women's films /“. Connect to this title online, 2003. http://adt.lib.utas.edu.au/public/adt-TU20050315.093920.

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13

Su, Xin. „Ideas of film authorship : a study of theories and concepts of agency and subjectivity in film authorship, with a conclusion on the possible configuration of a future theoretical model of feminist film authorship“. HKBU Institutional Repository, 2010. https://repository.hkbu.edu.hk/etd_ra/1101.

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14

Carver, Mary Heather. „Autobiography in performance : cinematic representation of women's lives /“. Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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15

Kretschmar, Kelly Benshoff Harry M. „Framing femininity as insanity representations of mental illness in women in post-classical Hollywood /“. [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3654.

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16

O'Reilly, Kevin Joseph. „Between hotel mama and petrol station manager: the represatations of women's realities in a selection of African films“. Thesis, Nelson Mandela Metropolitan University, 2008. http://hdl.handle.net/10948/789.

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The roles that women perform as depicted in African films are often dictated to by the type of society they find themselves in. At first glance traditional societies can be seen as oppressive because of the presence of certain cultural practices. Alternatively modern urban settings appear to offer women authority and empowerment through employment. However, with a closer examination one sees that the situation is not so simplistic. Such is the case when certain traditional practices that are deemed oppressive through a Western perspective, are still found in urban societies. Films on the subject of African women have to be cautious not place their characters in stereotypical roles. Therefore, it is not enough to merely portray African women as ‘oppressed’. African films that engage in a feminist critique need to present ‘realistic’ portrayals of African women. Such characters are layered and complex. The film Faat Kine (2000) depicts such a character in the authoritative protagonist Kine. The film La Vie est Belle (1987) examines the issue of polygamous marriages and patriarchy from the point of view of two African women living in France. Touki Bouki (1973) examines two young characters living in Senegal and questions the possibility of escape from ones circumstances. Traditional practices such as polygamous marriages are explored in Xala (1975), and Finzan (1989) explores cultural practices such as forced marriages and female circumcision. This treatise will consider women and work in both traditional society and urban settings. African feminism will also be investigated for the purpose of exploring common social perceptions of women in Africa.

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17

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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18

Cui, Shuqin. „A cross-cultural analysis of gender and representation in Chinese new cinema“. online access from Digital Dissertation Consortium access full-text, 1996. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9624592.

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19

Lam, Suk-yin, und 林淑燕. „The construct of masculinity and femininity in John Woo and Stanley Kwan's films“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31951144.

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20

Rubaba, Protas Pius. „The influence of feminist communication in creating social transformation : an analysis of the films Moolaadé (Ousmane Sembène) and Water (Deepa Mehta)“. Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/888.

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In many societies in developing countries, women are not given a chance to communicate their issues. The organisation within these societies places men at the top, giving them the opportunity to make all the important decisions. This situation is reflected in the two films which fall under this study, namely, Water and Moolaadé both of which are fictional representations of the oppression of women. In this study, an attempt is made to explain communication struggles in the two films: Water, reflecting Indian society and Moolaadé, reflecting African society. To understand the outcome of these struggles against patriarchy, the study looks at two types of feminism: Indian feminism and African feminism and attempts to find the sense that characters in the film can be understood. The analysis also looks at what the women, who act as feminists in the films have achieved out of their struggles to break the silence and how their voices have influenced or sensitised the silenced majority of women in their societies. Feminist communication theories have been used to analyse the female voice in the films. In the conclusion, I have argued that in both films women have managed to transform their respective societies. However more potential to social transformation are revealed by women depicted in Moolaadé than in Water, where there is very slow pace of change.

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21

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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22

Lewis, Alanna. „The political and educational implications of gender, class and race in Hollywood film : holding out for a female hero“. Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21233.

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This thesis examines the articulations of gender, class, and race in a specific sample of films from the 1930's to the 1990's. The tendency in these films is to depict women as passive, rather than heroic. Because this has been the common practice, I chose to outline it through fourteen films that exemplified an inherent bias when dealing with women as subject matter. Brief summaries of several recently produced progressive films are provided to show that it is possible to improve the image of women in film, hence we may finally witness justice on the big screen.
In this discursive analysis, I trace specific themes from the feminist and film literature to provide a critical overview of the chosen films, with a view to establishing educational possibilities for the complex issues dealt with in this study.

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23

San, Filippo Maria. „Having it both ways bisexualities/bi-textualities and contemporary crossover cinema /“. Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1495959301&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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24

Leung, Yee-man Yvonne. „Ideology and the performance of gender in Chinese cinema“. Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262038.

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25

Hui, Suet-hung. „Subversive females : the politics of defiance in Zhang Yimou's films /“. Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20059966.

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26

Ho, Kin-wai. „Cult of the fragmented body : establishing a feminine identity in popular cinema /“. Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22200277.

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27

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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28

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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29

Simpson, Catherine. „Imagined geographies: women's negotiation of space in contemporary Australian cinema, 1988-98“. Thesis, Simpson, Catherine (2000) Imagined geographies: women's negotiation of space in contemporary Australian cinema, 1988-98. PhD thesis, Murdoch University, 2000. https://researchrepository.murdoch.edu.au/id/eprint/312/.

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Imagined Geographies: Women's Negotiation of Space in Contemporary Australian Cinema is an exploration of the nexus between gender and locale in films from the last decade, 1988-98. This thesis examines the way meaning is made through the negotiation of diverse geographies by central female protagonists in a selection of recent Australian feature films. The films I analyse were predominantly produced by female writers and/or directors. In the context of Australian Cinema, locale is an area much talked about but little theorised. It is an issue which remains in the background of much scholarship and is often tangential to many arguments but rarely constructed as a central concern. Where it is foregrounded, as in Ross Gibson's work, it is reduced to the significance of landscape or 'natural locations' rather than examining the diversity of its manifestations. Two notable but related spatial shifts have occurred in Australian cinema of the 1990s. The first is a change in industrial practice. Female artists are now creating spaces for themselves in mainstream feature filmmaking - spaces traditionally occupied by men. This trend is away from constructions of a distinctly feminist cinema or counter-cinema which was identifiable in the 1970s. Second, there is a shift in the character of on-screen space. The presence of growing numbers of women writers, directors and producers in the Australian film industry is shifting the cinema's focus away from traditional 'masculine' topographies - the pub, the prison and the outback - thus allowing explorations of other spaces and visions to develop. I am arguing therefore that there is a feminization ofspace occurring in Australian cinema. In this thesis I investigate representations of so-called traditional 'feminine' or domestic domains. The place of the gendered body and embodiment in films is a central concern and is theorised in the first chapter. As we move through the thesis chapters, sexed bodies enacting gender in a variety of ways and in different zones - the car, the house, the suburb and the country town - will be explored. Through these analyses I examine the methods some film directors employ to problematize space in such a way that their work overcomes the limitations of its previously dominant representations. This thesis is primarily an attempt to open up the field of criticism to acknowledge the diversity of locales which exist within the rich tapestry of Australian Cinema.

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30

Simpson, Catherine. „Imagined geographies : women's negotiation of space in contemporary Australian cinema, 1988-98 /“. Simpson, Catherine (2000) Imagined geographies: women's negotiation of space in contemporary Australian cinema, 1988-98. PhD thesis, Murdoch University, 2000. http://researchrepository.murdoch.edu.au/312/.

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Imagined Geographies: Women's Negotiation of Space in Contemporary Australian Cinema is an exploration of the nexus between gender and locale in films from the last decade, 1988-98. This thesis examines the way meaning is made through the negotiation of diverse geographies by central female protagonists in a selection of recent Australian feature films. The films I analyse were predominantly produced by female writers and/or directors. In the context of Australian Cinema, locale is an area much talked about but little theorised. It is an issue which remains in the background of much scholarship and is often tangential to many arguments but rarely constructed as a central concern. Where it is foregrounded, as in Ross Gibson's work, it is reduced to the significance of landscape or 'natural locations' rather than examining the diversity of its manifestations. Two notable but related spatial shifts have occurred in Australian cinema of the 1990s. The first is a change in industrial practice. Female artists are now creating spaces for themselves in mainstream feature filmmaking - spaces traditionally occupied by men. This trend is away from constructions of a distinctly feminist cinema or counter-cinema which was identifiable in the 1970s. Second, there is a shift in the character of on-screen space. The presence of growing numbers of women writers, directors and producers in the Australian film industry is shifting the cinema's focus away from traditional 'masculine' topographies - the pub, the prison and the outback - thus allowing explorations of other spaces and visions to develop. I am arguing therefore that there is a feminization ofspace occurring in Australian cinema. In this thesis I investigate representations of so-called traditional 'feminine' or domestic domains. The place of the gendered body and embodiment in films is a central concern and is theorised in the first chapter. As we move through the thesis chapters, sexed bodies enacting gender in a variety of ways and in different zones - the car, the house, the suburb and the country town - will be explored. Through these analyses I examine the methods some film directors employ to problematize space in such a way that their work overcomes the limitations of its previously dominant representations. This thesis is primarily an attempt to open up the field of criticism to acknowledge the diversity of locales which exist within the rich tapestry of Australian Cinema.

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31

Pugsley, Bronwen E. „Challenging perspectives : documentary practices in films by women from Francophone Africa“. Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/12658/.

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This thesis is located at the intersection of three dynamic fields: African screen media, documentary studies, and women’s filmmaking. It analyses a corpus of fifteen films by Francophone sub-Saharan African women filmmakers, ranging from 1975 to 2009, within the framework of documentary theory. This study departs from the contextual approach to African women’s documentary, which has been predominant among scholarship and criticism thus far, in favour of a focus on the films as texts. The popular models developed for the study of documentary film by Western scholars are applied to African women’s documentaries in order to explore their innovative and stimulating practices; to determine the degree to which such models are fully adequate or, instead, are challenged, subverted, or exceeded by this new context of application; and to address the films’ wider implications regarding the documentary medium. Chapter One outlines the theoretical framework underpinning the thesis and engages with existing methodologies and conventions in documentary theory. Chapter Two considers women-centred committed documentary, analyses the ways in which these films uncover overlooked spaces and individuals, provide and promote new spaces for the enunciation of women’s subjectivity and ‘herstories’, and counter hegemonic stereotypical perceptions of African women. Chapter Three addresses recent works of autobiography, considers the filmmaking impulses and practices involved in filming the self, and points to the emergence of a filmmaking form situated on the boundary between ethnography and autobiography. Chapter Four explores the filmmakers’ ethnographic practices, considering their specificities in the light of pre-existing conventions within ethnographic filmmaking to emphasise the films’ formal and political reflexivity. The fifth and final chapter analyses a selection of works of docufiction, demonstrating their striking singularities and arguing for the significance of films that blur the boundaries between fiction and fact and thus push the borders of the real. The overall aim of the thesis is, therefore, to show the overlooked diversity of documentary voices and to demonstrate that the practice of documentary by women from Francophone sub-Saharan Africa is both formally innovative and reflexive, and politically challenging.

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32

Wong, Shuk-han Mary, und 黃淑嫻. „New Chinese cinemas and feminine writings“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B43894410.

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33

Ngan, Ka-hing, und 顏加興. „Gender representation in Zhang Yimou's films“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45007640.

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34

Lam, Suk-yin. „The construct of masculinity and femininity in John Woo and Stanley Kwan's films“. Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B17390801.

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35

Coe, Jason George. „Left behind by history: complicating narrative, modernity in the mundane, and reading history through womenin "feeling of life films"“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48539533.

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This dissertation scrutinizes a corpus of films considered to be the stylistic and thematic descendants of Yasujiro Ozu, which I call “feeling of life films.” Focusing upon common themes such as female narrative and the portrayals of the quotidian, this dissertation identifies various methods used in specific films of Ozu, Hou Hsiao Hsien, and Tran Anh Hung that complicate narrative meaning and engage in the discourse of national modernity and history. The female protagonists of these films can be considered “left behind” by the narrative progression of history, serving an allegorical function that critiques standard notions of time and official history. The basis for understanding this phenomenon will be scholarly discourse primarily concerning Ozu’s “Noriko Trilogy,” which marks the transitional period of post-war Japan through the narrative of a woman’s path to marriage. This dissertation seeks to complicate the discourse of reading women in these films by introducing different methodologies of formalist analysis, cultural analysis, theoretic discourse, historiography, and phenomenology. In doing so, this dissertation demonstrates the cinematic importance of these films through their unique formal characteristics and their cultural and historical meanings.
published_or_final_version
Literary and Cultural Studies
Master
Master of Arts

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36

Lo, Po-yee, und 勞保儀. „Middle-aged women in search of female identities and new visions of home : a study of Ann Hui's films“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/206613.

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In the past decade, Ann Hui as a well-known filmmaker has produced several films concerning women in their middle and older age. My research examines two of her films, The Postmodern Life of My Aunt(2006)and All About Love(2010). By carefully reading and analyzing the two texts, my research reveal show Chinese middle-aged women construct their gender identities and develop their visions of home in Shanghai and Hong Kong respectively. It focuses on how this group of women experience inner and social contradictions in the process of establishing individual subjectivities as well as how they deal with tensions and difficulties in the domestic sphere. I argue that the two films represent middle-aged females’ fractured identities and their intense struggles between individual desires and domestic obligations. They have created alternative meanings for femininity and home, subverting the traditional image of women as dutiful wives and mothers as well as the romanticized vision of home as a haven for security and comfort. Moreover, the ambivalence and multiplicity of meanings in the two texts may lead us to reflect upon the complexity of middle-aged women’s lived experiences amidst unrelenting economic development and confining social norms. By studying Ann Hui’s cinematic representation of aging women’s lives, it is significant for us to explore possible ways for females to challenge conventional gender roles, to create new meanings of home, as well as to realize gender equality and sexual diversity in society.
published_or_final_version
Literary and Cultural Studies
Master
Master of Arts

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37

Akhter, Fahmida. „Fragmented memory, incomplete history : women and nation in war films of Bangladesh“. Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20049/.

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The most important and celebrated chapter in the history of Bangladesh is its nine-month long Liberation War (Muktijuddho in Bengali) of 1971. My research explores the ways in which memories and histories of the war are shaped by the gender dynamics of nationalism in different periods through examining war-themed films of Bangladesh. By covering both mainstream and alternative war films produced just before, during and after the war, from 1970 to 2011, I trace the various ways in which men and women are represented in war films and construct the idea of nation. I also aim to unpack the politics and aesthetics of war films, contextualizing them as they intersect with the socio-historical contexts. Employing textual and visual analyses with using solid theoretical scholarship, both from the East and the West, concerning cinematic representation of the past, women and nation, I argue that the different power structures of men and women constructed in war films are in accordance with the dominant ideology of the society. The Liberation War was a people’s war, involving manifold participation of both men and women from different classes, religions and localities. Despite this reality, cinematic representations of the War have always portrayed the combat experience as an exclusively masculine enterprise. By contrast, women have been constructed in the films as passive victims or in subordinate roles. Woman is valorized in one instance, in her idealized portrayal as the ‘mother-nation’; this iconic projection of woman, however, highlights men’s heroic defence of their motherland. On the other hand, female rape victims in the war are framed as shame or dishonour for the nation and are offered a customary exclusion by suicide, death or occasionally by some other means at the end of the war films. I have argued that war films exclude the raped women from the narratives in order to maintain a perceived purity of the nationalist discourse, following the national politics, culture and historiography of Bangladesh.

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Kretschmar, Kelly. „Framing Femininity as Insanity: Representations of Mental Illness in Women in Post-Classical Hollywood“. Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3654/.

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From the socially conservative 1950s to the permissive 1970s, this project explores the ways in which insanity in women has been linked to their femininity and the expression or repression of their sexuality. An analysis of films from Hollywood's post-classical period (The Three Faces of Eve (1957), Lizzie (1957), Lilith (1964), Repulsion (1965), Images (1972) and 3 Women (1977)) demonstrates the societal tendency to label a woman's behavior as mad when it does not fit within the patriarchal mold of how a woman should behave. In addition to discussing the social changes and diagnostic trends in the mental health profession that define “appropriate” female behavior, each chapter also traces how the decline of the studio system and rise of the individual filmmaker impacted the films' ideologies with regard to mental illness and femininity.

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39

Ho, Kin-wai, und 何堅慧. „Cult of the fragmented body: establishing a feminine identity in popular cinema“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952616.

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40

Wong, Bik-wan Flora, und 黃碧雲. „Criminality of women in Hong Kong films: fromthe 1960's to the 1990's“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31977960.

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41

Hui, Suet-hung, und 許雪紅. „Subversive females: the politics of defiance in Zhang Yimou's films“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951648.

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42

Leung, Yee-man Yvonne, und 梁以文. „Ideology and the performance of gender in Chinese cinema“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953633.

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43

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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44

Moser, Evelyn Christine Busch. „Heroines in western films /“. abstract and full text PDF (free order & download UNR users only), 2005. http://0-wwwlib.umi.com.innopac.library.unr.edu/dissertations/fullcit/3209133.

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Thesis (Ph. D.)--University of Nevada, Reno, 2005.
"August 2005." Includes bibliographical references (leaves 237-246). Online version available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2005]. 1 microfilm reel ; 35 mm.

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Ngan, Ka-hing. „Gender representation in Zhang Yimou's films /“. View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B34614424.

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46

Boyke, Kimberly M. „El cambio del rol de la mujer en la sociedad española dentro del cine : un estudio de películas entre 1999 a 2007 /“. Abstract Full Text (HTML) Full Text (PDF), 2009. http://eprints.ccsu.edu/archive/00000560/02/2000FT.htm.

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Thesis (M.A.) -- Central Connecticut State University, 2009.
Thesis advisor: Paloma Lapuerta. "... in partial fulfillment of the requirements for the degree of Master of Arts in Spanish." Includes bibliographical references (leaves 60-63). Also available via the World Wide Web.

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Hofmann, Ingrid. „Deadly seductions : femme fatales in 90's film noir“. Title page, table of contents and abstract only, 1998. http://web4.library.adelaide.edu.au/theses/09ARM/09armh713.pdf.

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48

Ip, Wing Cheung. „Shaw in blue, women in nude : Li Han-Hsiang's fengyue films in 1970s“. HKBU Institutional Repository, 2007. http://repository.hkbu.edu.hk/etd_ra/872.

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49

Still, Kara B. „The Dance /“. Electronic version (PDF), 2004. http://dl.uncw.edu/etd/2004/stillk/karastill.pdf.

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50

Lio, Man Cheng. „'Apple, rose, ice" :An analysis of the changes to Disney princess“. Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3952598.

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