Journal articles: 'Feminist film theory'

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Tudor, Deborah. "Feminist Film Theory 101." Afterimage 16, no. 8 (March 1, 1989): 21. http://dx.doi.org/10.1525/aft.1989.16.8.21.

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Fischer, Craig. "Why Feminist Film Theory?" NWSA Journal 14, no. 2 (July 2002): 171–80. http://dx.doi.org/10.2979/nws.2002.14.2.171.

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McKinstry, Susan Jaret, and Constance Penley. "Theorizing Pleasure: Feminist Film Theory." Contemporary Literature 32, no. 1 (1991): 127. http://dx.doi.org/10.2307/1208342.

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Mayne, Judith. "Feminist Film Theory and Criticism." Signs: Journal of Women in Culture and Society 11, no. 1 (October 1985): 81–100. http://dx.doi.org/10.1086/494201.

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Swanson, Gillian. "BUILDING THE FEMININE: FEMINIST FILM THEORY AND FEMALE SPECTATORSHIP." Art History 13, no. 4 (December 1990): 585–90. http://dx.doi.org/10.1111/j.1467-8365.1990.tb00409.x.

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Swanson, Gillian. "Building the feminine: Feminist film theory and female spectatorship." Continuum 4, no. 2 (January 1991): 206–17. http://dx.doi.org/10.1080/10304319109388208.

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Kaplan, E. Ann. "Global Feminisms and the State of Feminist Film Theory." Signs: Journal of Women in Culture and Society 30, no. 1 (September 2004): 1236–000. http://dx.doi.org/10.1086/421879.

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Blaetz, Robin. "The Maternal and Feminist Film Theory." Women: a cultural review 33, no. 1 (January 2, 2022): 146–48. http://dx.doi.org/10.1080/09574042.2022.2021027.

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LONG, M. "Feminist Film Theory: Osaka, circa 1866." differences 13, no. 3 (January 1, 2002): 24–63. http://dx.doi.org/10.1215/10407391-13-3-24.

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McHugh, Kathleen. "Prolegomenon." Film Quarterly 75, no. 1 (2021): 10–22. http://dx.doi.org/10.1525/fq.2021.75.1.10.

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Kathleen McHugh explores the complex functions of women’s anger in the work and aesthetic circuitry—culture, texts, audience, reviewers—of contemporary feminist filmmakers. For all its ubiquity as a feminist feeling, anger has been little considered critically. While 1970s white theorists of feminine/feminist film aesthetics did not mention anger, feminist lesbian, materialist, and women-of-color critics lamented its absence. Julie Dash’s 1982 Illusions inaugurated an aesthetics of anger from a Black feminist perspective that exemplified the ideas in Audre Lorde’s foundational 1981 essay, “The Uses of Anger.” Drawing from Lorde’s and Sara Ahmed’s ideas about the creative value of feminist anger, together with recent affect theory on “reparative reading” and “better stories,” the essay explores four contemporary directors’ films and media works for how anger shapes their texts and critical reception and cultivates a mode of affective witness in their audiences.

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Ibbi, Andrew Ali. "Stereotype Representation of Women in Nigerian Films." CINEJ Cinema Journal 6, no. 2 (April 25, 2018): 49–70. http://dx.doi.org/10.5195/cinej.2017.166.

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The stereotype representation of women in Nollywood films has attracted criticisms from the society with feminists clamoring for a review of the way women are projected. This study looks at the various issues associated with stereotype representation as a concept in film. The Feminist Media Theory was used as supporting theory for the paper. Part of the recommendations for the paper is the need for research to be properly conducted on the society before screenplays are written, to avoid misleading the public.

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Scott, Kathleen, and Stefanie Van de Peer. "Sympathy for the Other: Female Solidarity and Postcolonial Subjectivity in Francophone Cinema." Film-Philosophy 20, no. 1 (February 2016): 168–94. http://dx.doi.org/10.3366/film.2016.0009.

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In this article we explore how female sympathy and solidarity can be forged between transnational subjects and spectators. In particular, we place cinematic depictions of minority female suffering in the contexts of current feminist and postcolonial praxes. The aim is to demonstrate the ways in which world cinema can produce a transnational feminist solidarity through forms and narratives that reflect the experiences of women as gendered postcolonial subjects. Amongst the female and feminist theorists drawn upon, central to our understanding of a transnational feminist solidarity is Sandra Lee Bartky's ‘mitgefühl’ (feeling-with). From this understanding we suggest bonds of sympathetic solidarity between audiences and diegetic female subjects that bridge their ontological separation, without conflating the two, in relation to Rachida ( Yamina Bachir Chouikh, 2002 ) and Frontière(s) ( Xavier Gens, 2007 ). In combining film-philosophy, cinematic affect and feminist theory we formulate a radically new way of understanding and envisioning the construction of female suffering onscreen: as a means of producing transnational forms of spectator solidarity.

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Miražić, Milica. "Lacan's concept of gaze in feminist film theory." Genero, no. 19 (2015): 109–33. http://dx.doi.org/10.5937/genero1519109m.

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Farrimond, Katherine. "‘Being a horror fan and being a feminist are often a conflicting business’: Feminist horror, the opinion economy and Teeth’s gendered audiences." Horror Studies 11, no. 2 (October 1, 2020): 149–68. http://dx.doi.org/10.1386/host_00016_1.

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Horror has long been understood as a ‘bad object’ in relation to its audiences. More specifically, this presumed relationship is a gendered one, so that men are positioned as the genre’s natural audience, while women’s engagement with horror is presented as more fractious. However, those horror films framed as feminist require a reorientation of these relations. This article foregrounds the critical reception of a ‘conspicuously feminist’ horror film in order to explore what happens to the bad object of horror within an opinion economy that works to diagnose the feminism or its absence in popular culture. Reviews of Teeth (2007), a ‘feminist horror film’ about vagina dentata, illustrate the push and pull of gendered power attached to feminist media, where empowerment is often understood in binary terms in relation to its gendered audiences. The assumed disempowerment of male audiences takes precedence in many reviews, while other narratives emerge in which Teeth becomes an educational tool that might change gendered behaviours, which directly empowers female audiences or which dupes women into believing they have been empowered. Finally, Teeth’s reviews expose a language of desire and fantasy around vagina dentata as an automated solution to the embodied experiences of women in contemporary culture. Teeth’s reviews, I argue, offer a valuable case study for interrogating the tensions in discourse when the bad object of horror is put to work for feminism.

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Vilslev, Birgitte Thorsen. "Spiste horisonter og Tre piger og en gris." K&K - Kultur og Klasse 47, no. 127 (June 11, 2019): 173–94. http://dx.doi.org/10.7146/kok.v47i127.114749.

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This article compares the sexual differences in two Danish avant-garde films. It suggests that the Danish feminist, collective film Three Girls and a Pig from 1971 with an actual castration of a young pig established a deconstruction of a phallic economy in line with the theory of the French feminist linguist Luce Irigaray. In comparison with the artist Wilhelm Freddie’s and filmmaker Jørgen Roos’ surrealist film, Eaten Horizons from 1950, this deconstruction may contribute to a feminist reinterpretation of the latter’s sadist and cannibalistic fetichization of the female body. Furthermore, the comparison sheds light on formal and aesthetic strategies, such as the surrealist magic and illusionism contrasted to feminist bodily realism, and the transgressive potentials of the bodily rituals in the two films.

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Gaines, Jane. "Film History and the Two Presents of Feminist Film Theory." Cinema Journal 44, no. 1 (2004): 113–19. http://dx.doi.org/10.1353/cj.2004.0045.

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Peirse, Alison. "Towards a feminist historiography of horror cinema." Horror Studies 13, no. 2 (October 1, 2022): 231–49. http://dx.doi.org/10.1386/host_00056_1.

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Jackie Kong released four feature films between 1981 and 1987, including the horror films The Being (1981) and Blood Diner (1987). She directed all four films, while also working variously as screenwriter, producer and editor on individual productions. In this essay, I use Kong’s experiences of making horror films in the 1980s as a way of critically revisiting our histories of 1980s horror film culture. I offer a feminist model of doing horror film history: not only uncovering and illuminating the unknown or little-known work of women in horror film, but also critically thinking about the way we write our histories, and what this might say about our representation of personal, cultural and national identities. Ultimately, this essay is guided by the following question: what might a feminist historiography of horror cinema look like?

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Prismanisa, Lana. "THE REPRESENTATION OF FEMALE CHARACTER IN EDGE OF TOMORROW (2014) FILM BASED ON FEMINIST FILM CRITICS." Diksi 29, no. 1 (March 29, 2021): 1–9. http://dx.doi.org/10.21831/diksi.v29i1.33063.

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(Title: The Representation of Female Character in “Edge of Tomorrow” (2014) Film Based on Feminist Film Critics). This research analyzes the female character in Edge of Tomorrow, Rita Vrataski. This research intends to understand how female character is described in the film and how female character is described according to feminist film critic. The method used is descriptive qualitative method. This research also uses theory character and characterization in film and theory feminist film critic. As the result, Rita is described as a female soldier who has characteristics as committed, brave, assertive, strong, muscular, intelligent and skillful soldier. Even though Rita, as the female character who has man’s characteristics, she still needs help from another male character. Rita character in this film is still passive because the one who finishes the mission in the story is the male character, William Cage. This film proves that male domination still exists in story of film. Thus, the female stereotype has been attached in film and it is difficult to change it.Keywords: female character ,women in film , feminist film critic

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Rabinowitz, Paula, Teresa de Lauretis, Mary Ann Doane, Kaja Silverman, Christine Gledhill, and Tania Modleski. "Seeing through the Gendered I: Feminist Film Theory." Feminist Studies 16, no. 1 (1990): 151. http://dx.doi.org/10.2307/3177960.

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Hee-Jung Sun. "Browning’s Dramatic Monologue and Mulvey’s Feminist Film Theory." English & American Cultural Studies 17, no. 2 (May 2017): 1–28. http://dx.doi.org/10.15839/eacs.17.2.201705.1.

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Richard W. McCormick. "Productive Tensions: Teaching Films by German Women and Feminist Film Theory." Women in German Yearbook: Feminist Studies in German Literature & Culture 6, no. 1 (1991): 83–97. http://dx.doi.org/10.1353/wgy.2012.0037.

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Shetley, Vernon. "Sidney Furie’s The Entity: Horror and rape culture." Horror Studies 13, no. 2 (October 1, 2022): 251–66. http://dx.doi.org/10.1386/host_00057_1.

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In the 1970s rape became a central focus of second-wave feminist activism, and also, as censorship waned, a frequent narrative event in New Hollywood cinema, often, as a number of critics noted, in strikingly misogynistic forms. A few films, however, reflect and engage with second-wave feminism’s new perspectives on sexual assault. Sidney Furie’s The Entity (1982) uses its horror premise, a woman repeatedly raped by an invisible, aethereal attacker, as a powerful metaphor for what feminists termed ‘rape culture’. The film enlists our identification with, and sympathy for, its protagonist in her struggle against both the invisible rapist and against a medical establishment that denies the truth of her experience. Larry Cohen’s God Told Me To will be briefly considered as a film that reimagines the story of Jesus’s conception in feminist terms as sexual violation and Abel Ferrara’s Ms. 45 will be discussed as a representation of women’s experience of rape culture.

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Medina Bañón, Raquel, and Barbara Zecchi. "Technologies of Age: The Intersection of Feminist Film Theory and Aging Studies." Investigaciones Feministas 11, no. 2 (June 14, 2020): 251–62. http://dx.doi.org/10.5209/infe.66086.

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Aging studies is a relatively new discipline, and its intersection with feminist film theory can lead to fundamental methodological and theoretical rethinking of the notion of cinema as a powerful technology of age. This essay provides an account of the ageism that permeates Western societies vis-à-vis the place of aging and gender in visual culture. In light of contemporary feminist conceptualizations of aging and aging narratives, this essay aims to propose possible new directions that cinema and feminist film theory can take as part of a new epistemological framework. It also explores new theoretical paradigms from an intersectional perspective aimed at deconstructing ageism in the film industry. Finally, by focusing on female aging narratives in several non-mainstream film productions, this essay advocates moving away from the binary approach of aging as either decline or success, and it suggests new, affirmative ways of looking at aging bodies, and of understanding old age.

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Fong, Grace S. "Feminist Theories and Women Writers of Late Imperial China: Impact and Critique." Journal of Chinese Literature and Culture 9, no. 1 (April 1, 2022): 105–30. http://dx.doi.org/10.1215/23290048-9681176.

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Abstract Feminism, feminist theory, feminist literary theory were already highly contentious in what they represented to Euro-American critics and theorists in the 1980s, when scholars in Chinese literary studies began sustained research on women writers in late imperial China (ca. 1600–1911). Their research drew on developments in Western feminist theories while problematizing certain applications. In this article, I review major debates in 1980s and 1990s Western feminist literary theory, divided by the different approaches of Anglo-American and French feminist critics and gender studies, examining why specific arguments on women and language, genres studied, and theoretical underpinnings did not hold significant relevance to the study of similar issues when applied to women's writing in pre-twentieth-century China. Yet certain concepts were highly fruitful in critical analysis. Feminist theory was never monolithic, even when it was Eurocentric; theories were drawn from a plurality of different disciplines and schools. Concepts that came into currency—gender, gaze, voice, agency, subjectivity, authorship, and so on—from poststructuralist, postcolonial, cultural, and film studies proved to be useful tools in feminist literary studies. Some came to be deployed in scholarship on women's literature in historical China. In this context, I reflect on theoretical approaches in significant studies of women's writing of late imperial China and consider the impact or critique this subfield of Chinese literary studies posed to Western feminist theories and broader questions of the applicability of modern/postmodern feminist theories to literature of earlier periods and other cultures before the globalization of the twentieth and twenty-first centuries.

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Seid, Danielle. "Forever Her Chinatown." Feminist Media Histories 5, no. 1 (January 1, 2019): 141–67. http://dx.doi.org/10.1525/fmh.2019.5.1.141.

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This essay adopts and adapts memory work, as developed by Annette Kuhn, as a method to search for the author's grandmother in Chinese American feminist film history. Foregrounding a trans-feminist perspective that moves across and between nations and film cultures, it introduces readers to a relatively unknown “orphan” documentary film, Forever Chinatown (1960). For the author and her family, the film carries with it a history of trauma that shapes what is remembered about it. Drawing on work in feminist film studies, particularly the notion of an archive of feelings, the essay blends life writing, theory, and visual-textual analysis to both allow the author to write her way into the film and trace her grandmother's presence in and labor on the film.

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Gaines, Jane M. "On Not Narrating the History of Feminism and Film." Feminist Media Histories 2, no. 2 (2016): 6–31. http://dx.doi.org/10.1525/fmh.2016.2.2.6.

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“On Not Narrating the History of Feminism and Film” poses two questions: What happened to women in the early silent film industries, and why don't we know about them? While the author and others have addressed the first question elsewhere at recent international conferences and in publication, the second remains largely unanswered and is taken up here. It is specific to the field of feminism and film and media studies, where in the 1970s moment of feminist film theory, the powerful paradigm of “no women” or woman as “absent” could be taken as either theoretical or empirical. The question arises as to how to write a narrative account given earlier prohibitions against narrative and empirical work, even when that very kind of work has discovered evidence of women working in significant roles in early film industries worldwide.

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Lord, Susan. "Chick Flicks: Theories and Memories of the Feminist Film Movement B. Ruby Rich; Feminism and Documentary Edited by Diane Waldman and Janet; Feminism and Film Maggie Humm; Feminist Film Theory: A Reader Edited by Sue Thornham; Passionate Detachments: An Introduction to Feminist Film Theory Sue Thornham." Canadian Journal of Film Studies 8, no. 2 (October 1999): 90–96. http://dx.doi.org/10.3138/cjfs.8.2.90.

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Koch, Gertrud. "Ex-Changing the Gaze: Re-Visioning Feminist Film Theory." New German Critique, no. 34 (1985): 139. http://dx.doi.org/10.2307/488342.

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Guilluy, Alice. "Feminist Film Theory and Pretty Woman, by Mari Ruti." Alphaville: Journal of Film and Screen Media, no. 15 (October 9, 2018): 156–61. http://dx.doi.org/10.33178/alpha.15.12.

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Petro, Patrice, and Carol Flinn. "Patrice Petro and Carol Flinn on Feminist Film Theory." Cinema Journal 25, no. 1 (1985): 50. http://dx.doi.org/10.2307/1224839.

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Gledhill, Christine. "Christine Gledhill on "Stella Dallas" and Feminist Film Theory." Cinema Journal 25, no. 4 (1986): 44. http://dx.doi.org/10.2307/1225082.

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Smyth, Sarah Louise. "Feminist film theory and ‘Cléo from 5 to 7’." Studies in European Cinema 17, no. 3 (April 16, 2018): 273–75. http://dx.doi.org/10.1080/17411548.2018.1461590.

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N.K, Amaljith. "FEMINISM AND REPRESENTATION OF WOMEN IDENTITIES IN INDIAN CINEMA: A CASE STUDY." Brazilian Journal of Policy and Development 3, no. 1 (April 8, 2021): 10. http://dx.doi.org/10.52367/brjpd.2675-102x.2021.3.1.10.

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The film is one of the most popular sources of entertainment worldwide. Plentiful films are produced each year and the amount of spectators is also huge. Films are to be called as the mirror of society. Because they portray the actual reality of the society through the cinematography. Thus, cinema plays an essential role in shaping views about, caste, creed and gender. There are many pieces of research made on the representation of women or gender in films. But, through this research, the researcher wants to analyse in-depth about the character representation of women in the Malayalam film industry how strong the so-called Mollywood constructs the strongest and stoutest women characters in Malayalam cinema in the 21st-century cinema. The study titled “Feminism and Representation of Women Identities in Indian Cinema. A Case Study” confers how women are portrayed in the Malayalam cinema in the 21st century and how bold and beautiful are the women characters in Malayalam film industry are and how they act and survive the social stigma and stereotypes in their daily life. All sample films discuss the plights and problems facing women in contemporary society and pointing fingers towards the representation of women in society. The case study method is used as the sole Methodology for research. And Feminist Film theory and theory of patriarchy applied in the theoretical framework.

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Arfiani, Dini. "Subordinasi dan Sudut Pandang Perempuan Suku Malind Marga Mahuze dalam Film the Mahuzes (2015): a Feminist Standpoint Theory." Martabat: Jurnal Perempuan dan Anak 5, no. 2 (December 17, 2021): 337–60. http://dx.doi.org/10.21274/martabat.2021.5.2.337-360.

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Abstract: Documentary films are one of the most suitable media to be used as a reference in seeing reality. Like the reality of subordination and women's point of view in The Mahuzes. In general, this film tells the story of the conflict that occurred between the Malind clan Mahuze in Merauke and corporations that entered their territory through the Merauke Integrated Food and Energy Estate (MIFEE) program, besides that there were horizontal conflicts between tribal members. This study aims to analyze the form of subordination and women's point of view seeing the problems of indigenous peoples dealing with corporations which are shown by the documentary film The Mahuzes in the perspective of Feminist Standpoint Theory. This study uses a qualitative approach and a critical paradigm by collecting data from various relevant sources. Events involving or relating to women were analyzed using three basic concepts of Feminist Standpoint Theory, namely standpoint, situated knowledge, and sexual division of labour. The results of the study indicate that women in The Mahuzes are a marginalized group, forced to take responsibility for the domestic space, and are limited to take part in the public sphere. Even so, they have a broad and comprehensive perspective in viewing horizontal conflicts between clan members and vertically between clans and corporations. Keywords: Subordinate; Feminist Standpoint; MIFEE; The Mahuze Abstrak: Film dokumenter menjadi salah satu media yang paling sesuai untuk dijadikan sebagai rujukan dalam melihat realitas. Seperti realitas subordinasi dan sudut pandang perempuan dalam The Mahuzes. Film ini, secara garis besar berkisah tentang konflik yang terjadi antara suku Malind marga Mahuze di Merauke dengan korporasi yang masuk ke wilayah mereka melalui program Merauke Integrated Food and Energy Estate (MIFEE), selain itu terdapat konflik horizontal antar anggota suku. Penelitian ini bertujuan untuk menganalisis bentuk subordinasi dan sudut pandang perempuan melihat permasalahan masyarakat adat berhadapan dengan korporasi yang ditampilkan oleh film dokumenter The Mahuzes dalam perspektif Feminist Standpoint Theory. Penelitian ini menggunakan pendekatan kualitatif dan paradigma kritis dengan mengumpulkan data dari berbagai sumber yang relevan. Agedan-agedan yang melibatkan atau berkaitan dengan perempuan dianalisis dengan menggunakan tiga konsep dasar Feminist Standpoint Theory, yaitu standpoint, situated knowledge, dan sexual division of labour. Hasil penelitian menunjukkan bahwa, perempuan dalam The Mahuzes merupakan kelompok yang terpinggirkan, dipaksa untuk bertanggung jawab pada ruang domestik, dan terbatas untuk berkiprah di ruang publik. Meskipun begitu, mereka memiliki sudut pandang yang luas dan menyeluruh dalam melihat konflik horizontal antar anggota marga maupun vertikal antara marga dan korporasi. Kata kunci: Subordinasi; Feminist Standpoint; MIFEE; The Mahuze

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Powell, Lauren. "Tired Gaze: A Feminist Reading of Quentin Dupieux’s Rubber (2010)." Film Matters 12, no. 2 (September 1, 2021): 22–35. http://dx.doi.org/10.1386/fm_00152_7.

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Rubber (2010) could be read as a monstrous replication of a male-dominated society that sees women subordinated and exploited simply for their “otherness” to men. This article, however, argues that when a dynamic reading is performed, Rubber can be seen to question Hollywood’s dominant system of gender representation and should therefore be considered a feminist film. In dialogue with feminist theory, it will be claimed that by drawing attention to the artifice of cinema, Dupieux has delivered a feminine text that highlights and calls for change to inherently misogynistic codes and conventions present in traditional dominant cinema and society in general.

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Flinn, Carol, Mary Ann Doane, Patricia Mellencamp, and Linda Williams. "Re-Vision: Essays in Feminist Film Criticism." SubStance 14, no. 3 (1986): 95. http://dx.doi.org/10.2307/3685000.

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Zatlin, Phyllis. "Josefina Molina'sEsquilache: Example of Feminist Film Transformation?" Symposium: A Quarterly Journal in Modern Literatures 52, no. 2 (January 1998): 104–15. http://dx.doi.org/10.1080/00397709809598263.

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Boos, Sonja. "Julia Lesage: “I was never anything less than the person I am.” An Interview with the Author, Editor, and Filmmaker Julia Lesage." Konturen 12 (2022): 12–23. http://dx.doi.org/10.5399/uo/konturen.12.0.4913.

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Long recognized as a pioneer of experimental filmmaking and feminist documentary theory, Julia Lesage is the closest we have to a feminist film scholar-practitioner. This interview was conducted by Sonja Boos on 16 January, 2020.

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Useros Rodríguez, Silvia. "El monstruo femenino y la violencia liberadora en A girl walks home alone at night de Ana Lily Amirpour=The female monster and the liberating violence in A girl walks home alone at night (2014), by Ana Lily Amirpour." Estudios Humanísticos. Filología, no. 43 (December 20, 2021): 107–22. http://dx.doi.org/10.18002/ehf.v0i43.7054.

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El objetivo de este texto es analizar el monstruo femenino en el film A Girl Walks Home Alone at Night (Una chica vuelve a casa sola de noche, 2014), de Ana Lily Amirpour, exponiendo el giro del arquetipo de la mujer vampiro, para tratar el tema de la violencia patriarcal y, mediante una serie de referencias críticas de la teoría del cine feminista, con figuras como Barbara Creed, Pilar Pedraza y Laura Mulvey, entre otras, entender las nuevas manifestaciones de lo femenino y lo monstruoso. The aim of this paper is to analyze the female monster in Ana Lily Amirpour’s film A Girl Walks Home Alone at Night (2014), exposing the reversal of the female vampire archetype to address the violence of patriarchy, and through a series of critical references from feminist cinema theory with figures such as Barbara Creed, Pilar Pedraza, and Laura Mulvey, among others, to understand the new trends of the feminine and monstrosity.

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DEL RIO, ELENA. "Rethinking Feminist Film Theory: Counter-Narcissistic Performance in Sally Potter’sThriller." Quarterly Review of Film and Video 21, no. 1 (January 2003): 11–24. http://dx.doi.org/10.1080/10509200490262424.

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Radner, Hilary. ": Passionate Detachments: An Introduction to Feminist Film Theory . Sue Thornham." Film Quarterly 52, no. 4 (July 1999): 57–59. http://dx.doi.org/10.1525/fq.1999.52.4.04a00190.

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Geiger, Jeffrey. "Re-assessing the Past and Future of Feminist Film Theory." Sexualities 4, no. 2 (May 2001): 246–51. http://dx.doi.org/10.1177/136346001004002008.

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Tandian, Erina Adeline. "Komodifikasi Cinta dan Tubuh Perempuan Pada Film Love For Sale dan Love For Sale 2." Urban: Jurnal Seni Urban 5, no. 2 (October 21, 2021): 99–110. http://dx.doi.org/10.52969/jsu.v5i2.52.

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Love for Sale (2018) dan Love for Sale 2 (2019) movies describe an urban problem of Jakarta, that commodify everything in it. Both male protagonists in these movies are considered as incomplete men by their societies because they don’t have a romantic partner. They find a rent girlfriend through the Love.inc application and meet a woman named Arini. This study aims to see the commodification of love and female body in the both movies. The analysis uses qualitative research method with cinema textual studies. The theoretical approachs are Laura Mulvey’s feminist film theory, Simone de Beauvoir’s existentialist feminism, and Jean Baudrillard’s thoughts on consumer society. The results show that love and body’s of Arini become commodification and spectacle, which are shown in the patriarchal social environments of the male protagonists. Both protagonists access these commodities through the use of digital technology and it happens instantly.Film Love for Sale (2018) dan Love for Sale 2 (2019) menggambarkan permasalahan urban Jakarta yang menjadikan segala sesuatu sebagai komodifikasi. Kedua protagonis laki- laki dalam film dianggap kurang lengkap oleh lingkungan sosialnya karena tidak memiliki pasangan. Mereka mencari teman kencan lewat aplikasi Love.inc dan bertemu dengan perempuan bernama Arini. Penelitian ini bertujuan untuk melihat komodifikasi cinta dan tubuh perempuan pada kedua film tersebut. Analisis terhadap kedua film ini menggunakan metode penelitian kualitatif melalui kajian tekstual sinema. Pendekatan yang digunakan adalah teori film feminis Laura Mulvey dan feminisme eksistensialis Simone de Beauvoir yang dilengkapi dengan pemikiran Jean Baudrillard tentang masyarakat konsumen. Hasil analisis menunjukkan bahwa cinta dan tubuh tokoh Arini menjadi komodifikasi dan tontonan, yang dipertunjukkan pada lingkungan sosial patriarkis para protagonis laki-laki. Cara yang digunakan para protagonis untuk mengakses komoditas ini yaitu melalui bantuan teknologi digital dan terjadi secara instan.

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Hastie, Amelie. "The Vulnerable Spectator." Film Quarterly 72, no. 1 (2018): 58–63. http://dx.doi.org/10.1525/fq.2018.72.1.58.

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This entry of the “Vulnerable Spectator” column draws upon Jennifer Fox's autobiographical film The Tale (2018), which struggles with the filmmaker's memories of the 1970s, in order to reconsider the 1974 film Alice Doesn't Live Here Anymore (dir. Martin Scorsese). Situating Alice within the history of women's contributions to US commercial film production and feminist film theory, Hastie argues both for a recognition of Ellen Burstyn's authorial role in regard to the film and for a more expansive theoretical and historiographic practice in relation to the era. This column kicks off a series of VS columns that will revisit U.S. films of the 1970s in order to understand their historical, theoretical, and contemporary relevance.

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Nwachukwu, Charles, and Onyebuchi Udochukwu Joel. "Jadesola Osiberu’s Isoken: A Filmic Postulation for Feminism." Studies in Media and Communication 7, no. 1 (May 29, 2019): 49. http://dx.doi.org/10.11114/smc.v7i1.4306.

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While other media of mass communication such as Television, Radio and Print have to contend, largely, with the expectations of informing, educating and entertaining, film ascends over all these to find a niche in “expressing”. Film, therefore, can set out for the singular purpose of expression. This study intends to analytically expose those indicators and determinants of feminism locked in within the film content of Isoken, a 2017 Nollywood movie produced and directed by Jadesola Osiberu. These components should lend evidence to the central argument in this paper that this particular film displays a strong tendency towards feminist sentiments.The Feminism Theory is, aptly, adopted to buttress the standpoint here. A theoretical study, it utilizes the qualitative research approach, relying on personal analysis and interpretation of the film. It found that a good number of elements exist within the film content to suggest that ISOKEN leans sufficiently towards feminism. These include Isoken's defiance of communal and family values, the predominantly female cast as well as the brazen usurpation of certain privileged roles that the Nigeria society had hitherto reserved for men, amongst others.The study concludes that both the scriptwriter and the director have succeeded in focusing on the female gender and putting forward female related issues. Wittingly or unwittingly, they have also ended up producing a film that is clearly within the sphere of feminism. Thus, this paper has added to the activity level in that particular aspect of knowledge, whilst also increasing available stock.

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Rajasakran, Thanaseelen, Santhidran Sinnappan, Thinavan Periyayya, and Sridevi Balakrishnan. "Muslim male segmentation: the male gaze and girl power in Malaysian vampire movies." Journal of Islamic Marketing 8, no. 1 (March 6, 2017): 95–106. http://dx.doi.org/10.1108/jima-01-2015-0007.

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Purpose The purpose of this paper is to propose and develop a distinct perspective from the consumer culture theory in the context of Muslim consumers, marketing and the feminist theory. Design/methodology/approach This paper is based on a critical review of the literature for insights into the consumer culture theory in the context of Muslim consumers, Islamic marketing paradigm and the feminist theory. Findings The study suggests that scholars in the area of marketing may consider drawing on the theory of Islamic consumer culture, film and feminist theory. This theory can be used as a platform to understand the Muslim mind and the related cultural traits to create greater engagement and interest in Malaysian horror genres among local and international audience. The Malaysian local horror genres currently have an interesting blend of Islam, local culture and gender biases addressing the universal concept of good against the evil forces, and this has the potential of offering new experiences to especially international audiences. Research limitations/implications This study is purely theory-based and is aimed at knowledge development in this field of Islamic consumer culture. It also invites academics to engage in scholarly activities toward theory building in this area. Practical implications The study provides directions for areas of possible future research in Islamic marketing, consumer culture and film studies. Social implications This study intends to broaden the research efforts in Islamic consumer culture marketing in terms of innovative ways to serve this growing Muslim market. Originality/value This study contributes to the discipline by providing new perspectives in Islamic consumer culture inquiry in the context of film studies.

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Meng, Ou. "The Self-value Construction of Female Characters in Hidden Figures from the Perspective of Feminism." International Journal of Education and Humanities 3, no. 2 (July 7, 2022): 64–67. http://dx.doi.org/10.54097/ijeh.v3i2.802.

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The Feminist criticism theory, which originated in the 1960s, is a literary criticism theory that interprets literary and cultural phenomena with female gender consciousness as its focus. The theory of criticism has gradually penetrated from political life to all aspects of culture, economy and social life, and has exerted a profound influence in the field of film. Film hidden figure depicts three women from 7 to revolt, from weak to strong career growth process, in the male-dominated field of science and technology have the courage to explore and create our own a piece of heaven and earth, through the career women are the epitome of difficulties and resistance, shows the wisdom of women dried fruits and individual consciousness. From the perspective of feminist criticism, Text Tong explores the self-worth construction process and important influence of the three women in Hidden Figures.

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Herbeck, Mariah Devereux. "Feminist Film Theory and Cléo de 5 à 7 by Hilary Neroni." French Review 90, no. 3 (2017): 241–42. http://dx.doi.org/10.1353/tfr.2017.0354.

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Radner, Hilary. "Review: Passionate Detachments: An Introduction to Feminist Film Theory by Sue Thornham." Film Quarterly 52, no. 4 (1999): 57–59. http://dx.doi.org/10.2307/1213787.

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Mangiarotti, Chiara. "Donne, quale oggetto in alcuni momenti di riflessione della Feminist Film Theory." COSTRUZIONI PSICOANALITICHE, no. 17 (May 2009): 39–43. http://dx.doi.org/10.3280/cost2009-017004.

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Journal articles on the topic 'Feminist film theory'

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