Dissertations / Theses on the topic 'Feminism and motion pictures Australia'
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Weightman, Elise. "The mirror has many faces : an exploration of women's aesthetics in contemporary mainstream Australia." Thesis, Queensland University of Technology, 1999.
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This thesis investigates the concept of "women's aesthetics", as distinct from "feminine" or "feminist" aesthetics, asserting that an original and liberated women's film practice and spectatorship may be realised, in the late 1990s, by reinterpreting women's aesthetics as diverse social and artistic processes. Aesthetic concepts such as pleasure, value, art and sensory experience are also
tested in this study to establish their relevance to feminist discourses on film, the wider culture and society. The study also argues that the aesthetics of Australian women filmmakers working in mainstream cinema may be
characterised by certain social and artistic processes. Further, it is suggested that these women achieve a more liberated and empowered artistic practice through their distinctive and personal explorations of particular aesthetic processes. Through case studies of films by Gillian Armstrong, Jane Campion, Samantha Lang and Rachel Perkins, certain characteristics of women's aesthetics are
identified, and their power and relevance for Australian women filmmakers are evaluated. While focusing its investigation on the concept of "women's aesthetics", this
study also interrogates recent and seminal feminist film theory as well as the historical development of Australian national cinema, establishing a context and justification for the exploration of women's aesthetics. The revised, inclusive concept of women's aesthetics is then applied to a
practical project, in which my own artistic processes are explored through the production of three short films. This practical component is reported and critiqued to establish the relevance of the concept of women's aesthetics to my
own film practice. Finally, this thesis concludes that the concept and practice of women's aesthetics as a negotiated process can be used to promote and develop a more relevant, political and productive relationship between women, mainstream cinema and the wider culture and society.
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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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Read, Jacinda. "Narratives of transformation : feminism, femininity and the rape-revenge cycle." Thesis, University of Warwick, 1998. http://wrap.warwick.ac.uk/4338/.
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This thesis analyses the 'rape-revenge' films of the post- 1970 period. Against the tendency of existing work in this area to categorize rape-revenge as a sub-genre of horror, I argue that rape-revenge is better understood as a narrative structure which, on meeting the discourses of second-wave feminism in the 1970s, has produced an historically specific, but generically diverse cycle of films. I suggest, therefore, that the rape-revenge cycle might usefully be read as one of the key ways in which Hollywood has attempted to make sense of feminism and the changing shape of heterosexual femininity in the post-1970 period. Using a model of cultural analysis influenced by Gramsci's theory of hegemony, I argue that it is in the struggle between the feminist stories the rape-revenge structure attempts to tell and the feminine stories embedded in the genres over which it has been mapped that common-sense understandings of feminism are produced. Initial consideration is given to the ideological effects of various generic deployments of the rape-revenge structure in the pre-1970 period. Subsequent chapters explore the ways in which post-1970 deployments of the structure negotiate and rework the 'mass cultural fictions of femininity' inscribed in the genres over which they have been mapped, and the understandings of feminism these negotiations have produced. The ways in which extra-textual material such as reviews contribute to the construction of these understandings is also explored. Additional consideration is given to the increasing influence of post-modern aesthetics on Hollywood film, the emergence of the New Right during the 1980s and the characterization of this period as one of post-feminism or backlash. In identifying the rape-revenge cycle as one of the key sites through which the meanings of feminism are constructed and negotiated, I suggest that the most politically expedient form feminist film theory can take today is not one which attempts to separate feminist film from mainstream film, the political from the popular, but one which attempts to theorize the relationship between feminism and film, the political and the popular.
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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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Wu, Jie. "Sleeping Beauty and Maleficent :the influences of feminism on Disney princess movies." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953518.
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Peach, Ricardo. "Queer cinema as a fifth cinema in South Africa and Australia." University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2005. http://hdl.handle.net/2100/425.
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Australia had the world’s first gay film festival at the Sydney Filmmakers Co-op in June 1976, part of a larger commemoration of the Stonewall Riots in New York City of 1969. In 1994, South Africa became the first country in the world to prohibit discrimination in its constitution on the basis of sexual orientation, whilst allowing for positive discrimination to benefit persons disadvantaged by unfair discrimination. South Africa and Australia, both ex-British colonies, are used in this analysis to explore the way local Queer Cinematic Cultures have negotiated and continue to negotiate dominant social forces in post-colonial settings. It is rare to have analyses of Queer Cinematic Cultures and even rarer to have texts dealing with cultures outside those of Euro-America. This study offers a unique window into the formations of Queer Cinematic Cultures of two nations of the ‘South’. It reveals important new information on how sexual minorities from nations outside the Euro-American sphere have dealt with and continue to deal with longstanding Queer cinematic oppressions. A pro-active relationship between Queer representation in film and social-political action is considered by academics such as Dennis Altman to be essential for significant social and judicial change. The existence of Queer and other independent films in Sydney from the 1960s onward, impacted directly on sexuality, race and gender activism. In South Africa, the first major Queer film festival, The Out In Africa Gay and Lesbian Film Festival in 1994, was instrumental in developing and maintaining a post-Apartheid Queer public sphere which fostered further legal change. Given the significant histories of activism through Queer Cinematic Cultures in both Australia and South Africa, I propose in this thesis the existence of a new genus of cinema, which I term Fifth Cinema. Fifth Cinema includes Feminist Cinema, Queer Cinema and Immigrant/Multicultural Cinema and deals with the oppressions which cultures engage with within their own cultural boundaries. It can be informed by First Cinema (classical, Hollywood), Second Cinema (Art House or dual national cinemas), Third and Fourth Cinema (cinemas dealing with the decolonisation of Third World and Fourth World people), but it develops its unique characteristics by countering internal cultural colonisation. Fifth Cinema functions as a heterognosis, where multi-dimensional representations around sexuality, race and gender are used to assist in broader cultural liberation.
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Mak, Anson Hoi Shan. "Bi aII means the trouble with Tong Zhi discourse : beyond queer looks in the East is red and Swordsman II /." Connect to this title online, 2000. http://sunzi1.lib.hku.hk/hkuto/record/B31223163.
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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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Mak, Hoi-shan Anson. "Bi all means : the trouble with Tong Zhi discourse : beyond queer looks in the East is red and Swordsman II /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22030463.
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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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Sonnet, Esther. "The politics of representation : modernism, feminism, postmodernism." Thesis, University of Nottingham, 1993. http://eprints.nottingham.ac.uk/11076/.
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This study is an investigation into the shifts in ways of knowing which have been subsumed under the label of postmodernism. More specifically, it is concerned to relate theories of Postmodernism to the construction of film as an object of knowledge and to feminism's place in a Modernist/postmodernist divide. Chapter One offers an examination of competing readings of the nature of aesthetic Modernism drawing primarily upon debates on Modernist epistemological legitimation advanced by Jurgen Habermas and Jean-Franicois Lyotard. Chapter Two utilizes Lyotard's notion of Modernism as knowledge legitimated by the grands recits of speculation and emancipation to propose a understanding of the conceptual parameters of avant-garde film Modernism. Chapter Three examines Lyotard's view that postmodernism is acondition of cultural 'incredulity towards metanarratives' by introducing feminist interventions into avant-garde Modernism: it is argued that feminist deconstructionist film plays a crucial role in delegitimating film practices brought under the metanarrative of speculation by challenging the non-gendered mode of spectatorial knowledge claimed for them. Chapter Four extends postmodernist critiques of 'totalizing' discourses to the grand recit of liberty, and advances the view that feminist deconstructiorism, and related psychoanalytical theories of female subjectivity/spectatorship, are in turn delegitimated for instrumentalizing and homogenizing the feminist 'social bond'. Chapter Five considers Lyotard's propositions for a fragmentation of Modernist models of the 'social bond' in relation to his proposal for a theory of resistance defined in terms of 'dissensual paralogy'. Within the context of cultural and technological shifts in contemporary image-culture, the usefulness of a theory of postmodernism which remains embedded within Modernist epistemological differentiations is questioned. A proposal for a theory of film postmodernism which dispenses with the avantgarde/mass culture binary is suggested as a prerequisite for clearing a theoretical space for a politics of resistance which is not founded on instrumentalized and homogeneous spectators. Chapter Six extends this to consider how postmodernist notions of the dissolution of the 'self' and the fragmentation of 'social bond' relate to feminist emancipatory claims. A parallel to the theoretical 'loss' of Modernist foundationalisms; is offered by drawing on black and lesbian perspectives on film spectatorship to argue for theories of film meaning which reflect a multiplicity of modes of spectatorial positioning. The study concludes with an assessment of feminism's place in critiques of totalizing discourses and argues for local contextual rather than metanarrative validations of film as critical discourse.
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Crilly, Shane. ""Gods in our own world" representations of troubled and troubling masculinities in some Australian films, 1991-2001 /." Connect to this title online, 2004. http://hdl.handle.net/2440/37939.
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The dominance of male characters in Australian films makes our national cinema a rich resource for the examination of the construction of masculinities. This thesis argues that the codes of the hegemonic masculinities in capitalist patriarchal societies like Australia insist on an absolute masculine position. However, according to Oedipal logic, this position always belongs to another man. Masculine yet 'feminised,'identity is fraught with anxiety but sustained by the 'dominant fiction' that equates the penis with the phallus and locates the feminine as its polar opposite. This binary relationship is inaugurated in childhood when a boy must distinguish his identity from his mother, who, significantly, is a different gender. Being masculine means not being feminine. However, as much as men strive towards inhabiting the masculine position completely, this masquerade will always be exposed by the elements associated with femininity that are an inevitable part of the human experience. Yet, the more men are drawn to the feminine, the more they risk losing their masculine integrity altogether under the patriarchal gaze. Men, in this dualistic regime, are condemned to negotiate their identity haunted by the promises of the phallus and the fear of its loss. I begin with a model of masculine integrity represented in the image of an ideal father, Darryl Kerrigan, from The Castle and then proceed to problematise it through an examination of its excesses observed in the father of David Helfgott in Shine. In the second chapter I investigate two films that represent mothers as the principal threat to masculine integrity: Death in Brunswick and Proof. Both films reveal a misogynistic impetus, which is expressed as violence against women in The Boys, the sole focus of my middle chapter. With misogyny and violence still resonating, I follow the contours of my argument through an examination of Chopper and The Adventures of Priscilla, Queen of the Desert in the fourth chapter, where I emphasise the performative nature of identity, before arriving at a discussion of men and their relationships in the final chapter (Mullet, Praise, and Thank God He Met Lizzie).Thesis (Ph.D.)--School of Humanities, 2004.
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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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Imre, Anikó. "Allegories of transition : feminism and postcolonial East European cinemas /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/9469.
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Beeton, Sue 1956. "Film-induced tourism impacts and consequences." Monash University, National Centre for Australian Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/7570.
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Athique, Adrian Mabbott. "Non-resident cinema transnational audiences for Indian films /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060511.140513/index.html.
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Emerson, John. "The representation of the colonial past in French and Australian cinema, from 1970 to 2000 /." Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phe536.pdf.
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Mak, Hoi-shan Anson, and 麥海珊. "BI AII means: the trouble with Tong Zhi discourse : beyond queer looks in the East is red and Swordsman II." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31223163.
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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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Bruteig, Rune. "Who's afraid of the Fenris-wolf? : projections of a skin self and Nordic mythographic filmmaking (a feminist and psychoanalytical introspective)." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23208.
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Chapter One of this thesis looks at psychoanalytical object relations theory dealing with early childhood, with an aim to outline the shift that has taken place within critical thinking on personal development--from an emphasis on oedipal relations to the auspicious re-exploration of pre-oedipal states. Here the main theme derives from the paradoxical nature of the human skin, whose fluid sensory and communicative qualities profoundly shape our psychological functioning, and thus ultimately our creation of (gendered) knowledge in all its forms.Chapter Two seeks to establish some of the possible socio-political implications of a recovered pre-oedipal sensibility, by way of situating the place of the personal within critical discourse--the cross-fertilization of critical theory and self-critical artistic discourses. Using the specific example of film, my central conceit consists in drawing a parallel between the skin and the filmic screen as both being simultaneously introjective and projective liminal membranes.
Chapter Three is a case study of sorts, one which traces the manifestations of a liminal subjectivity during a critical phase in the history of my native Nordic culture--the period of transition between pagan and Christian society. Its spirit is then shown to be alive and well within the ensemble films of Ingmar Bergman, whose work has come to stand as something of an archetype of the Nordic film form.
The second section, PRAXIS, appropriately provides this project's own creative component, a sketch of a film scenario that I hope to one day be able to liberate from the stasis of the written page and project into the uncertain spaces of a theater screen.
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Chan, Lai Man Amelia. "Nicole Kidman :gender equality and feminist ideology in films." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953456.
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Reid, Mary Anne. "Success factors in Australian cinema in the 1990s." Thesis, Queensland University of Technology, 2000.
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The main body of this research thesis employs a combination of case study and national data to discuss the concept of 'success' in relation to the Australian film industry in the 1990s. Faced with the problem of measuring 'success', my approach has been to apportion success into 'commercial' and 'critical', in relation to three Australian films - Muriel's Wedding, Love And Other Catastrophes and Kiss or Kill - each of which is considered to have been successful in one way or another. The purpose of these case studies is to demonstrate that films can be successful at different levels - niche or mainstream - and that in commercial terms, 'successful for whom?' depends on where one stands in the long chain of creators, marketers and exhibitor/broadcasters of a single film.
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Mukora, Wanjiku Beatrice. "Disrupting binary divisions : representation of identity in Saikati and Battle of the sacred tree." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0016/MQ55002.pdf.
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Enders, Michael Leonard. "Gettin' acquainted : film, ethnicity and Australian society." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/36279/1/36279_Enders_1996.pdf.
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This thesis uses a cultural studies- based social- cultural- historical methodology to
compare changes in depictions of ethnicity in selected Australian feature films
produced from 1930 to 1995 to changes in Australian immigration policy over the
same period. The aim is to identify the relationship between feature film
depictions and the societies which produced them. The study will show that
depictions of ethnicity in Australian feature films have progressed through three
phases in line with the changes in Australian immigration policy from 'white
Australia' (1930-1946) to assimilation (194 7 -1971) to multiculturalism (1972-
present) .
The study also proposes a model of 'cultural absorption' as better alternative than
'reflection' to explain the means by which social-cultural beliefs and values are
transferred from society to feature films. The results of this study confirm that
the myths and social cultural beliefs and values of a society can be identified by
analysing the cultural artefacts, such as feature films, produced by that society.
This means that it is possible to identify the myths, beliefs and values of past
moments in Australian social history by analysing feature films produced by that
society. Identifying changes in society and culture and the mechanisms which
brought them about provides a means of better understanding contemporary
society and culture and how future changes may affect social and cultural
evolution.
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Selem, Maria Célia Orlato 1972. "Políticas e poéticas feministas : imagens em movimento sob a ótica de mulheres latino-americanas." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280586.
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Orientador: Luzia Margareth RagoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-22T18:49:15Z (GMT). No. of bitstreams: 1 Selem_MariaCeliaOrlato_D.pdf: 4821285 bytes, checksum: 5aceae2f4c258481b430843eb05b59f3 (MD5) Previous issue date: 2013
Resumo: A presente pesquisa busca identificar poéticas feministas no cinema de mulheres latino-americanas neste século XXI. Nesse intuito, foram selecionados os seguintes filmes: La teta asustada, de Claudia Llosa (Peru - 2009); Que tan lejos, de Tania Hermida (Equador - 2006); Rompecabezas, Natalia Smirnoff (Argentina, 2009); Entre nós, de Paola Mendoza e Gloria La Morte (Colômbia, 2009); Sonhos Roubados, de Sandra Werneck (Brasil, 2009); En la puta vida, de Beatriz Flores Silva (Uruguai, 2001); A falta que me faz, de Marília Rocha (Brasil, 2009), Senhorita extraviada, de Lourdes Portillo (México, 2001), Tambores de água, un encuentro ancestral, de Clarissa Duque (Venezuela, 2009), Memória de un escrito perdido, de Cristina Raschia (Argentina, 2010), e Maria em tierra de nadie, de Marcela Zamora (El Salvador, 2010). Foram considerados nesta análise, também, alguns festivais de cinema feminino na década de 1980 e na atualidade, identificados como espaços de construção da crítica feminista de cinema latino-americana. Metodologicamente o trabalho é respaldado pelos estudos feministas e pós-coloniais, somados à filosofia foucaultiana. Foi possível perceber que, embora os festivais atuais analisados guardem alguns aspectos comuns, no que diz respeito à visibilidade das mulheres no cinema, acontecem, por vezes, de forma desconectada das pautas feministas locais e da crítica ao sistema político-econômico que tem norteado o feminismo latino-americano. De alguma maneira, todos os filmes analisados foram percebidos como atravessados pelas consequências do capitalismo e do patriarcado, embora de maneiras diversas. Desses trabalhos, emergiram temas ligados aos processos migratórios, violência de Estado, feminicídio, desigualdade social, entre outros tantos, que também são objetos de interesse dos feminismos, em suas possibilidades de resistência
Abstract: This present study investigates feminist poetics of Latin American women in motion pictures in the 21st century. To that end, the following films were selected: La teta asustada, by Claudia Llosa (Peru - 2009); Que tan lejos, by Tania Hermida (Ecuador - 2006); Rompecabezas, Natalia Smirnoff (Argentina, 2009); Entre nós, by Paola Mendoza and Gloria La Morte (Colombia, 2009); Sonhos Roubados, by Sandra Werneck (Brazil, 2009); En la puta vida, by Beatriz Flores Silva (Uruguay, 2001); A falta que me faz, by Marília Rocha (Brazil, 2009),Senhorita extraviada, by Lourdes Portillo (Mexico, 2001), Tambores de água, un encuentro ancestral, by Clarissa Duque (Venezuela, 2009), Memória de un escrito perdido, by Cristina Raschia (Argentina, 2010), and Maria em tierra de nadie, by Marcela Zamora (El Salvador, 2010). Some festivals from both the 80s and recent years were also taken into account in this analysis, once they are identified as spaces for the feminism criticism construction of Latin American motion picture. Methodologically, this research is supported by feminist and post colonial approaches in addition to Foucauldian philosophy. It has become evident that although current festivals bear common aspects regarding women visibility in motion picture industry, sometimes it does happen disconnected from local feminist guidelines and criticism to the political and economic system, which has ruled the Latin American feminism. All the films assessed were somehow noticeably affected by the consequences of capitalism and this long-standing patriarchy, even though in different ways. From these studies, themes concerning migratory processes, state violence, feminicide, social inequality, among many others, which are also feminism objects of interest have emerged as resistance possibilities
Doutorado
Historia Cultural
Doutora em História
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Boden, Susan, and n/a. "'an unsettled state': the real and the imainary in Australian cinematic and designed landscapes." University of Canberra. Design, 2002. http://erl.canberra.edu.au./public/adt-AUC20060426.161116.
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This thesis considers varied representations of landscape in
Australian narrative film and designed landscape. Landscape is
taken as an active concept that combines the associative meanings
of place and the dynamism of space. Sixteen film and designed
landscapes are examined to derive their landscape sources, forms
and ideas, using the methodology of 'contextual poetics', Each of
these landscapes is considered under a specific theme: landscape as
delight, absence, nation or hope.
In addition to detailing specific landscape responses by the
designers of the examined landscapes, this project aims to
contribute to an enhanced conversation about the effective, just
practice of landscape architecture.
The topic derives from a question central to landscape architectural
practice in a post-colonial context, such as Australia. In a cultural
setting where no single, agreed definition of landscape is allowed
by the conditions of its history, which versions do practitioners of
landscape architecture take up? What should be their limits, where
are their inspirations and whose landscape narratives are ignored in
these decisions?
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Schroeder, Kathleen Mary. "The female voyeur and the possibility of a pornography for women : redefining the gaze of desire." Thesis, University of South Africa, 2000. http://hdl.handle.net/10500/3079.
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Bisschoff, Lizelle. "Women in African cinema : an aesthetic and thematic analysis of filmmaking by women in Francophone West Africa and Lusophone and Anglophone Southern Africa." Thesis, University of Stirling, 2009. http://hdl.handle.net/1893/2337.
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This study focuses on the role of women in African cinema – in terms of female directors working in the African film industries as well as the representation of women in African film. My research specifically focuses on francophone West African and lusophone and anglophone Southern African cinemas (in particular post-apartheid South African cinema). This research is necessary and significant because African women are underrepresented in theoretical work as well as in the practice of African cinema. The small corpus of existing theoretical and critical studies on the work of female African filmmakers clearly shows that African women succeed in producing films against tremendous odds. The emergence of female directors in Africa is an important but neglected trend which requires more dedicated research. The pioneering research of African-American film scholar Beti Ellerson is exemplary in this regard, as she has, since the early 2000s, initiated a new field of academic study entitled African Women Cinema Studies. My own research is situated within this emerging field and aims to make a contribution to it. The absence of women in public societal spheres is often regarded as an indicator of areas where societies need to change. In the same sense the socio-political and cultural advancements of women are indicators of how societies have progressed towards improved living conditions for all. Because the African woman can be viewed as doubly oppressed, firstly by Black patriarchal culture and secondly by Western colonising forces, it is essential that the liberation of African women includes an opportunity for women to verbalise and demonstrate their own vision of women’s roles for the future. The study analyses a large corpus of films through exploring notions of nationalism and post/neo-colonialism in African societies; issues related to the female body such as health, beauty and sexuality; female identity, emancipation and African feminism in the past and present; the significance of traditional cultural practices versus the consequences and effects of modernity; and the interplay between the individual and the community in urban as well as rural African societies. Female filmmakers in Africa are increasingly claiming the right to represent these issues in their own ways and to tell their own stories. The methods they choose to do this and the products of their labours are the focus of this study. Ultimately, the study attempts to formulate more complex models for the analysis of African women’s filmmaking practices, in tracing the plurality of a female aesthetics and the multiplicity of thematic approaches in African women’s filmmaking.
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Lynch, Shaylynn. "Furyous Female Just-Warriors of Post-Apocalypse and Dystopia." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062883/.
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The intention of this thesis is to identify and analyze the precise shift from an exploitative archetype to an empowered representation of women warriors, to identify the arena in which male and female characters are given equal agency in the context of war, and finally explore the key characteristics that make up an empowered female hero. This thesis also addresses the sociocultural nature of the warrior woman archetype as it pertains to the current role of women in the military. The films analyzed in this thesis are all post 9/11 films; a fact that links them culturally to the wars in Iraq and Afghanistan. In recent years, numerous milestones have been reached for women in the armed services, especially for those women in combat positions. For the first time in American history women are being recognized for their active role as soldiers in combat. Therefore, it is valid to consider the correlation between seeing women as military professionals, fighting alongside male soldiers in these films, and the cultural impact of female combat soldiers. This aspect of the thesis also imbues the female just-warrior archetype with a legitimate history, mythology, and current cultural reference; which is essential to the visibility of female combat soldiers of the 21st century.
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Lidh, Josefin, and Helena Sjunnesson. "To Comment on a Social Debate by Motion Pictures as a part of a Dance Performance - A Qualitative Design Case Study." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-130015.
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Denna studie är ett kandidatarbete utfört på kandidatprogrammet Grafisk design och kommunikation vid Linköpings universitet. Studien är en kvalitativ designfallstudie som genomförts i samarbete med dansgruppen Pussytiv Dance, där en installation innehållande dans och rörlig bild har utvecklats. Studien syftar till att undersöka hurvida samhällsdebatten om offentlig amning kan kommenteras genom rörlig bild som en del av denna installation. Installationen visades på Feministisk Festival i Malmö 10 juni 2016. Målet med installationen är att väcka tankar, känslor och skapa diskussion om det samtida samhällsklimatet kring offentlig amning i syfte att bidra till en attitydförändring. Debatten om amning på offentlig plats präglas av frågor som rör paradoxen kring kvinnans bröst som sexuellt objekt och matbärare. Samhällets normer leder till att kvinnor känner sig obekväma att amma på offentlig plats, där det även har skett diskriminering i samband med amning. Dessa normer var önskvärda att ifrågasätta genom installationen. Studien kom fram till att det var möjligt att kommentera samhällsdebatten om offentlig amning genom rörlig bild som en del i en dansinstallation. Det kom även fram till att installationens kommunikationsmål nåddes och att installationsformen, dans och rörlig bild, är en effektiv form för att få mottagaren att reflektera över sina egna normer, vilket öppnar upp möjligheten att ändra på invanda attityder.
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Van, Niekerk Tanya. "'N Feministiese analise van animasiekarakters vanuit 'n feministiese benadering." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-10122004-135247.
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Smith, Keith. "Kodak's worst nightmare Super 8 in the digital age: A cultural history of Super 8 filmmaking in Australia 1965-2003." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/1612.
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This project charts the extraordinary history of the Super 8 film medium, a popular amateur home movie format first introduced in 1965 and largely assumed to have disappeared with the advent of home video technologies in the early 1980's. Kodak's Worst Nightmare investigates the cultural history of the Super 8 medium with an emphasis on its (secret) life since 1986. lt asks how (and why) an apparently obsolete consumer technology has survived some 35 years into a digital future despite the emergence of technologically-advanced domestic video formats and Eastman Kodak's sustained attempts since the mid-80s to suppress, what is for it, a patently unprofitable product line. Informed by the work of Heath (1900), Zimmermann (1995), and Carroll (1996), this project takes the unusual step of isolating a specific amateur film medium as its object of study at the centre of a classic 'nature vs. nurture' debate. Arguing against a popular essentialist position which attributes the longevity of Super 8 to its unique, irreplaceable aesthetic, Kodak's Worst Nightmare proposes that Super 8 film has been a contested site in a social, cultural, political, and economic nexus where different agencies have appropriated the medium through the construction of discourses which have imposed their own meanings on the use and consumption of this cultural product. In an extraordinary cycle of subjugation, resistance and incorporation, this project finds that the meanings and potentials of Super 8 have been progressively colonised by differing institutions - firstly by Eastman Kodak ('domestic' Super 8), secondly by the alternative,independent film movement ('oppositional' Super 8 and 'indie' Super 8), and finally by the mainstream film and television industry ('professional' Super 8"). In an amazing contradiction, it is argued that Super 8 in its current incarnation has emerged as the exact opposite of Kodak's original discursive construction of its amateur status - it has become a professional medium for commercial production. Drawing together related work in the histories of domestic photography and communications technologies, and the cultural practice of everyday life, this project contributes to an area which is seriously undertheorised in the literature of film theory and cultural studies- the social, political and cultural role of amateur film technologies.
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Peteet, Julia Clare. "Andalusia." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07192006-143237/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Jack Boozer, committee chair; Shirlene Holmes, Marian Meyers, committee members. Electronic text (138 p.) : digital, PDF file. Description based on contents viewed June 19, 2007. Includes bibliographical references (p. 28-30).
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Katona, Leah Andrea. "The Use of Violence as Feminist Rhetoric: Third-Wave Feminism in Tarantino's Kill Bill Films." CSUSB ScholarWorks, 2008. https://scholarworks.lib.csusb.edu/etd-project/2759.
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For the purpose of this thesis, the main focus of the feminist rhetorical criticism method was specifically linked to gender-related power inequities. This method was especially appropriate for the analysis of how film violence is used as a feminist rhetorical strategy in the Kill Bill films. This thesis is more closely aligned with challenging rhetorical standards as it sought to identify feminist counter positions of rhetoric in film violence.
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McKenzie, Susan M., and n/a. "Canadian and Australian Feature Film Policy in Perspective: A Comparative Study from 1968 to 1998." Griffith University. School of Arts, Media and Culture, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040804.142852.
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This comparative study is an investigation into the changing concerns of feature film policy in Canada and Australia from 1968 to 1998. Its purpose is to determine how similar policy initiatives have produced divergent results in two economically, culturally and socially similar nations. The inquiry's aim is to establish what financial, political and geographic variables affect the application of feature film policy. While resemblances between these nations justify the contrasting of comparable feature film policy initiatives, differences in outcomes suggest that these nations are not entirely alike. Therefore, rather than following the leads of comparable national agencies, film policy makers in Canada and Australia need to concentrate on conditions specific to their own particular situation.
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Langenfeld, Elizabeth Irene. "Hitchcock's "Rebecca": A rhetorical study of female stereotyping." CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1718.
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Mosher, Victoria. "BEYOND POSTMODERN MARGINS: THEORIZING POSTFEMINIST CONSEQUENCES THROUGH POPULAR FEMALE REPRESENTATION." Master's thesis, Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002141.
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Geloğullari, Gülin. "Female Friendship Films: A Post-Feminist Examination of Representations of Women in the Fashion Industry." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc848090/.
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This thesis focuses on three fashion industry themed female friendship films: Pret-a-Porter/Ready to Wear (1994) by Robert Altman, The Devil Wears Prada (2006) by David Frankel, and The September Issue (2009) by R.J. Cutler. Female interpersonal relationships are complex – women often work to motivate, encourage and transform one another but can just as easily use tactics like intimidation, manipulation, and exploitation in order to save their own jobs and reputations. Through the lens of post-feminist theory, this thesis examines significant female interpersonal relationships in each film to illustrate how femininity is constructed and driven by consumer culture in the fashion industry themed films.
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Barnett, Vanessa. "Tasha: A practice-based problematisation of Australian comedy cinema’s representation of gender, family and nationhood." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1411.
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Between 2007 and 2012, 140 fictional feature films were financed with the assistance of Australian film funding bodies. Of these 140 films, only 31 featured female protagonists and of these 31 films, only 8 were comedies (see Appendix B). These figures show statistically, Tasha, the creative film component of this research project, is not a typical Australian comedy film; it is the story of Tasha, an unemployed girl from Girrawheen in her early twenties, who has lost her sense of identity. As Australian films such as Little Fish¸ Candy, Jedda and Muriel’s Wedding would suggest, this is certainly not an uncommon premise in Australian national cinema. However, this is not all there is to know about Tasha; she is preoccupied, not by a love interest or by a drug addiction, but by ninjutsu, and vigilantism. This is where Tasha finds its unique approach to Australian cinema’s historic treatment of the woman-centred narrative. That said, beneath Tasha’s unconventional surface arguably lies a truly Australian comedy film.
The exegesis component of this project re-interprets Bazin’s question, “Qu'est-ce que le cinéma?” (What is cinema?), with a theoretical framework inspired by Australian film theorist Tom O’Regan’s influential text, Australian National Cinema. The exegesis begins by looking at Australian national cinema as a whole, then narrowing the focus to Australian comedy cinema. O’Regan (1996) describes Australian cinema as a national cinema; a cinema that embodies Australian culture, society and history. The focus is on Australian comedy film texts, and their social, political and cultural contexts. Tasha, the creative film project, is what O’Regan would term a “problematisation” of Australian comedy cinema.
The key argument of this project is that Australian national comedy films are uniquely Australian, cinematic explorations of individual identity, socio-cultural identity, landscape and family. Australia laughs about what it knows best, these four narrative and aesthetic preoccupations being central to Australian socio-cultural values and attitudes, to understanding the concept of Australianness. Australian comedy cinema is a problematic genre unto itself. The theoretical component of this project is a profile of Australian comedy cinema’s homogenised representation of Australianness. Tasha is then presented as an alternative. This investigation aims to both improve, and demonstrate an understanding of Australian comedy cinema as a problematisation of gender, culture, landscape, family and identity.
Tasha responds to the research question, “What is Australian comedy cinema?” by revealing that even an Australian action comedy with exciting stunts and fight scenes, is still a story of an individual’s sense of identity, family, and place. Such stories are arguably the hallmark of Australian comedy cinema; this carries a uniquely Australian sense of quirkiness. It remains the domain of the underdog: the battlers, larrikins, and of course the ockers. It still carries the same messages; never forget who you are, who your friends and family are, or where you came from. Despite its unconventional narrative, subject matter, soundtrack and aesthetics, Tasha proves to be no exception; it is still easily identified as a truly Australian comedy film.
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Silas, Elizabeth J. "THEMES OF AWAKENING IN MAINSTREAM FILMS: FEMALE SUBJECTS AND THE LACANIAN SYMBOLIC." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1133495057.
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Thesis (Master of Arts)--Miami University, Dept. of Mass Communication, 2005.Title from first page of PDF document. Document formatted into pages; contains [1], iv, 63 p. Includes bibliographical references (p. 58-63).
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Ryan, Joelle Ruby. "Reel Gender: Examining the Politics of Trans Images in Film and Media." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1245709749.
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Rheeder, Elle-Sandrah. "Pathologies of vision : representations of deviant women and the cyborg body." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020319.
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This thesis investigates the figure of the cyborg as conceptualised by Donna Haraway in The Cyborg Manifesto (1991). The figure of the cyborg, as a transgressive figure in the late twentieth century within socialist feminist discourse, is problematized with regard to its efficacy as a creature that challenges the constructed nature of gender and contests the boundary between human and machine through its ambiguous nature. Haraway’s notions of the cyborg, which she bases partly on cyborg characters from Science Fiction literature, deny the ocularcentric traditions that have structured gender and the body. Similarly, Haraway does not engage adequately with the figure of the cyborg with regard to situating it historically. This thesis unpacks both the visual and the historical aspects that have structured the cyborg body. By engaging with these concepts, the cyborg emerges as a figure that is identified through visual signifiers of female deviance and pathology. By reading female deviance and pathology on the body of the nineteenth-century hysteric, similarities can be drawn between the hysteric and the cyborg. Through a reading of Alien (1979); Blade Runner (1982); and Star Trek: First Contact (1996) key cyborg texts of the late twentieth century, the figure of the cyborg, and its relation to the deviant pathologised female can be understood when read against the body of the hysteric and how it was visually coded and communicated
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Cruz, Pereira Irina. "Heroínas del feminismo popular: autoría de mujeres en Hollywood." Doctoral thesis, Universitat de Barcelona, 2022. http://hdl.handle.net/10803/673901.
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En 1990, Marjorie Ferguson expone su argumento sobre la «falacia del feminismo», negando que exista una correlación entre la creciente consciencia social feminista, la autoridad de las profesionales en los medios de comunicación y la representación de las mujeres en la cultura popular. La presente tesis se plantea si su argumento sigue vigente treinta años después, en un contexto marcado por la influencia del neoliberalismo sobre el movimiento feminista. Para responder estas preguntas, la tesis ofrece una reflexión en torno a las heroínas del cine hollywoodense que, de la mano de mujeres en posiciones autoriales determinantes, habitan espacios tradicionalmente percibidos como masculinos. El trabajo parte de la observación de que, en la segunda mitad de la década de 2010, personajes femeninos han ocupado roles centrales en sagas y franquicias emblemáticas de la industria hollywoodense que hasta entonces habían estado protagonizadas exclusivamente por hombres. Así, este estudio se centra en tres de estas protagonistas con el objetivo de analizar la representación de las heroínas en distintos marcos narrativos y estéticos: la protagonista de Wonder Woman (2017), Furiosa en Mad Max: Fury Road (2015) y Rey en la trilogía de secuelas de Star Wars: The Force Awakens (2015), The Last Jedi (2017) y The Rise of Skywalker (2019). En los tres casos se dan instancias autoriales de mujeres que desempeñan roles tradicionalmente asumidos por la industria de Hollywood como masculinos: la dirección (Patty Jenkins en Wonder Woman), el montaje (Margaret Sixel en Fury Road) y la producción (Kathleen Kennedy en Star Wars).
La tesis explora las múltiples representaciones populares del feminismo, así como la reacción antifeminista y la misoginia popular, para comprender el contexto en el que las películas del corpus han sido producidas y su recepción crítica —siendo consideradas por parte de la crítica como obras feministas y, al mismo tiempo, repudiadas por las voces antifeministas. A partir del trabajo de Janet Staiger (2003) sobre la autoría fílmica como acto performativo a través del que un sujeto se concibe a sí misma como autora y se posiciona en una estructura discursiva que la reconoce como tal, la tesis propone una concepción de la autoría que considera Hollywood un mundo figurado en el que los individuos son situados en jerarquías de poder, por lo que su agentividad es siempre parcial y posicionada, siendo el género un eje clave en dicho posicionamiento.
El primer estudio se centra en la película Wonder Woman (2017) y en la autoría de su directora, Patty Jenkins. El trabajo explora la histórica relación entre la heroína y el feminismo, y las condiciones específicas que permitieron su adaptación al cine en 2017. Se analiza la dirección de Patty Jenkins y la forma en la que negocia su posición como autora en una franquicia hasta entonces dominada por hombres tanto en la pantalla como en las posiciones autoriales. El estudio de Mad Max: Fury Road (2015) se centra en la narrativa distópica como espacio de resistencia feminista y elabora un análisis de la edición de Fury Road señalando que el estilo de la editora Margaret Sixel difiere de la mirada convencional masculina asociada con el género de acción. Por último, la tesis propone una reflexión en torno a la trilogía de secuelas de la franquicia Star Wars, en la que se introduce a una mujer, Rey, como protagonista. El análisis demuestra que la trilogía transgrede las convenciones narrativas de la propia saga al elegir a Rey como receptora de la «fuerza» y se centra en el caso de Kathleen Kennedy, productora de la franquicia desde 2012 y considerada la responsable de haber introducido en Star Wars una mayor diversidad de personajes y de protagonistas femeninas.In 1990 Marjorie Ferguson published «Images of Power and the Feminist Fallacy», an essay in which she challenged the assumption that there is a correlation between the raising feminist consciousness, female authorship in media and the representation of women in popular culture. This thesis explores whether Ferguson’s claim is still valid thirty years later, in a context marked by a strong influence of neoliberalism on feminist movements. The corpus analyzed in this thesis includes films with female protagonists in sagas previously led by men: Wonder Woman (2017), Mad Max: Fury Road (2015) and the Star Wars sequel trilogy (2015-2019). In all three cases, women authors occupy roles traditionally assumed to be male: directing (Patty Jenkins in Wonder Woman), editing (Margaret Sixel in Fury Road), and producing (Kathleen Kennedy in Star Wars). This thesis seeks to interrogate the varied and complex representations of feminism in popular culture, as well as the anti-feminist backlash in connection with popular misogyny, in order to address more fully the context in which these films have been produced as well as their critical reception —they were perceived by some critics as feminist works and, at the same time, repudiated by anti-feminist movements. Drawing on Janet Staiger’s (2003) work on authorship as a performative act through which a subject conceives herself as an author and is situated in a discursive structure that recognizes her as such, this thesis reads Hollywood as a figurative world in which individuals are located hierarchically and in which their agency is always partial and positioned, their gender being central to this positioning.
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Slanker, Lindsey. "Demonic Possession and Fractured Patriarchies in Contemporary Fundamentalist Horror." Wright State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=wright1495803680104155.
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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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Paszkiewicz, Katarzyna. "Gender y genre en las cineastas estadounidenses a principios del siglo XXI." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/283168.
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Si bien existe una cantidad considerable de trabajos de investigación sobre las llamadas cineastas “vanguardistas” o “resistentes” a las estructuras comerciales, la obra fílmica de mujeres que recurren a formas populares no ha recibido suficiente atención crítica en los estudios de cine en general, ni en estudios fílmicos feministas en particular. Esta tesis se propone abordar una selección de obras realizadas por cineastas estadounidenses contemporáneas que han sido percibidas como películas de género en los discursos críticos: la película de terror Jennifer’s Body (2009), dirigida por Karyn Kusama y escrita por Diablo Cody, el western Meek’s Cutoff (2010), dirigido por Kelly Reichardt, y el filme de guerra The Hurt Locker (2008), dirigido por Kathryn Bigelow. Tomando como punto de partida la conceptualización del género cinematográfico como un proceso, y a la vez un repertorio o una constelación de materiales culturales, estéticos e ideológicos, el objetivo es reflexionar sobre cómo las cineastas citadas emplean los formatos genéricos para entablar un diálogo con las formas pasadas, y al mismo tiempo contribuir a rehacer y permutar los imaginarios sociales, en particular en cuanto a la representación del género sexual.
La tesis pretende contextualizar la obra de las cineastas estudiadas, ofreciendo un detallado examen no solo de sus películas, sino también de sus figuras públicas, que se prestan a consideraciones sobre una serie de cuestiones que nos parecen cruciales para repensar y problematizar la noción de “cine de mujeres”: la división entre los géneros “masculinos” y “femeninos”, la creciente importancia y visibilidad de la figura autorial de las cineastas, la disolución de los lindes entre el cine comercial y el cine independiente, el contexto de la llamada cultura mediática posfeminista y la cuestión del placer fílmico de las espectadoras. Uno de los objetivos principales es desestabilizar la distinción entre cultura femenina y masculina, así como revaluar ciertos géneros como espacios discursivos válidos para los análisis feministas –abiertos a posibilidades de reinscripción estética, narrativa e ideológica– y de esta manera ofrecer un replanteamiento crítico de la deslegitimación o del olvido habitual de ciertos géneros cinematográficos en contextos particulares. En términos generales, esta tesis se propone examinar con qué tipo de obstáculos y limitaciones se enfrentan las cineastas, sea por su género sexual, sea por el género cinematográfico en el cual eligen trabajar, pero también cómo traspasan o desestabilizan estas fronteras, forzándonos a rediseñar nuestras propias herramientas metodológicas, conceptos y entramados teóricos a partir de los cuales repensar la vigencia del “cine de mujeres” como clave hermenéutica.
La tesis se estructura en cinco secciones: un capítulo que incluye el marco teórico, un capítulo dedicado al estudio comparativo y extratextual de la recepción y de la construcción de la figura autorial de las cineastas abordadas en esta investigación, y tres capítulos que contienen análisis detallados de tres géneros fílmicos: cine de terror, western y cine bélico. La intención no ha sido ofrecer una visión panorámica del cine de mujeres estadounidenses en el momento actual, ni trazar la evolución de las respectivas cineastas o tradiciones fílmicas en el sentido más amplio, sino más bien ofrecer una aproximación transversal y sincrónica, que permita destacar los principales problemas que surgen en la intersección del género cinematográfico, la autoría fílmica de mujeres y el género sexual.While a considerable amount of research has been done on so-called “avant-garde” or “oppositional” female filmmakers, women who make films by drawing on popular forms have still to be given sufficient critical attention, in film studies in general, and in feminist film studies in particular. The objective behind this thesis is to address a selection of works of contemporary American filmmakers which have been perceived in the critical discourses as genre films: Jennifer’s Body (2009) as a horror film, directed by Karyn Kusama and written by Diablo Cody, Meek’s Cutoff (2010) as a western, directed by Kelly Reichardt, and The Hurt Locker (2008) as a war film, directed by Kathryn Bigelow. In particular –and taking as a starting point the conceptualization of genre as a process, a repertoire or a constellation of cultural, aesthetic and ideological materials– the aim is to reflect on how these filmmakers use the genericity of filmic storytelling to engage purposefully with past forms, at the same time as contributing to remaking and shifting social imaginaries, especially in terms of gender representation. This thesis seeks to put women filmmakers in context, offering a close examination not only of their films, but also of their public figures, which raise a number of intriguing questions that are crucial to rethinking and problematizing the notion of “women’s cinema”: the distinction between “male” and “female” genres, the growing importance and visibility of authorial images of female filmmakers, the blurring borders between commercial and independent cinema, the context of the so-called postfeminist media culture, and the consideration of female spectatorial pleasures. This thesis neither attempts to offer a panoramic vision of contemporary women’s cinema, nor to trace the evolution of respective filmmakers and filmic traditions in the wider sense, but rather to present a transversal and synchronic approach, one that underlines the principal obstacles that arise at the intersection of film genres, female film authorship, and gender.
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"探討「有機機械人」對「女性」角色的衝擊: 《異形》系列及《2019》." 2003. http://library.cuhk.edu.hk/record=b5896138.
Full textAbstract:
楊曉慧."2003年7月".
論文(哲學碩士)--香港中文大學, 2003.
附參考文獻.
附中英文摘要.
"2003 nian 7 yue".
The quotation marks for cyborg and feminine on abstract are 「」 respectively.
Yang Xiaohui.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003.
Fu can kao wen xian.
Fu Zhong Ying wen zhai yao.
大綱：
引言 --- p.1
Chapter 第一章： --- 從女性主義到後女性主義
女性主義到後女性主義的發展 --- p.10
Chapter 1.1 --- 第一波女性主義的出現與影響 --- p.11
Chapter 1.2 --- 第二波女性主義對語言建構「女性」角色的評論 --- p.19
Chapter 1.3 --- 意識形態與「女性」角色的形成 --- p.25
Chapter 1.4 --- 女性主義至後女性主義 --- p.27
Chapter 第二章： --- 從後女性主義到電子女性主義提倡的「有機機械人」
後女性主義與「身體」 --- p.32
Chapter 2.1 --- Judith Butler的裝扮「身體」與電子女性主義的「有機機械人」 --- p.35
Chapter 2.2 --- Donna Haraway的「有機機械人」 --- p.42
Chapter 2.3 --- Anne Balsamo對「有機機械人」的批判 --- p.48
Chapter 2.4 --- 「有機機械人」理論的發展 --- p.50
Chapter 第三章： --- 科幻電影《異形》系列與《2019》中的「有機機械人」
電影與公式化的「女性」角色 --- p.57
Chapter 3.1 --- 傳統兩性形象的公式與再現理論 --- p.59
Chapter 3.2 --- 科幻電影與「女性」角色 --- p.73
科幻電影《異形》系列(2019) --- p.81
Chapter 3.3 --- 《異形》系列（Alien) Series --- p.84
Chapter 3.4 --- 《2019》（Blade Runner) --- p.103
Chapter 第四章： --- 「有機機械人」對「女性」角色的衝擊
科幻與現實 --- p.124
Chapter 4.1 --- 有關複製/改造的理論與實踐 --- p.126
Chapter 4.2 --- 混雜和強化的「有機機械人」 --- p.128
Chapter 4.3 --- 對「有機機械人」的批判 --- p.130
Chapter 4.4 --- 「有機機械人」的成就 --- p.134
總結
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Bleach, Anthony Charles. "Girls consuming, girls creating : teen films of the 1980's and third-wave feminism /." Diss., 2003. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3117139.
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Emerson, John James. "The representation of the colonial past in French and Australian cinema, from 1970 to 2000 / by John James Emerson." 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phe536.pdf.
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Includes filmography: leaves 252-256. Bibliography: leaves 241-251. This thesis compares the representation of colonial history in the cinema of France and Australia since 1970. Films examined all had historical colonial settings, a narrative focus principally on aspects of the colonisation process and a director who was descended from former colonisers. It concludes that there are few sustained attempts to confront and resolve the problematic aspects of colonialism's legacy. The tendency to contain the representation of the colonial past within a fictional framework has the inevitable consequence of masking history and avoiding the necessity for dealing with it.
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Palanti, Alessia. "Stranded, Isolated, Cloistered, and Confined: Women Queering Space in Twenty-First Century Italian Cinema." Thesis, 2019. https://doi.org/10.7916/d8-azvp-1793.
Full textAbstract:
At the crossroads of Italian studies; film studies; and women’s, gender, and sexuality studies, my dissertation investigates a group of films by Italian women filmmakers whose narratives center on women and unfold in constrained spaces. Confinement is generally considered antithetical to feminist projects that imagine emancipation to be synonymous with freedom of movement. Why would women filmmakers, then, making films in the new millennium choose to stage their narratives in cloistered spaces? I find that the spatial restrictions are not responding to familiar dialectics. First feature films Benzina (Gasoline, Monica Stambrini 2001), Aprimi il cuore (Aprimi il cuore, Giada Colagrande 2002), and Via Castellana Bandiera (A Street in Palermo, Emma Dante 2013) find ways to place us snugly inside a familiar space, a space that comes with a standardized set of expectations and associations: the apartment with the nuclear family; Rome’s GRA (grande-raccordo anulare; Rome’s ring road) with travel around the capital; the narrow street as a classically Italian impasse. But when the films have us “overstay our welcome,” these spaces no longer align with our original understanding, instead, we begin to see the kinds of exclusions that have come to define those standardized narratives. And so, the films queer space, and by queering space we might come to see that the world we inhabit is much more dynamic than our traditional narratives might have us believe.
I begin by analyzing the only documentary in my project, Vogliamo anche le rose (We Want Roses Too, Alina Marazzi, 2007). This film is a launching pad from which to establish a more robust backdrop of feminist history, philosophies, and concepts that re-emerge in subsequent chapters. Vis-à-vis the historiography I provide, I argue that each of the films’ restricted spatial configurations incite tense interpersonal dynamics within female pairings that dramatize both local and global political tensions within real feminist and lesbian collectives. Allusions to these long-lasting tensions in women’s political history provide not only an image of its past but also of its present, and perhaps its future. In other words, the films are a hard mirror to look into for feminist and lesbian activists and for women whose lives are affected by their (in)decisions, inclusions, and exclusions.