Dissertations / Theses on the topic 'Male-gaze'
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Cohanim, Samira. "A Glance at the Male Gaze." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/513.
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The purpose of this paper is to understand and criticize the representation of women in advertisements. I examine the opposing yet similar ways that women are portrayed in Dove and Axe advertisements, two brands of Unilever. This paper analyzes the way in which brands market their products in such a way to appeal to a gendered audience. I also explore the history of how women have been depicted in art movements such as Surrealism, detournement and culture jamming, corresponding with my project of digital mixed media advertisements. I examine the way in which the prevalence of the male gaze in the media hinders progression to a less dependent, inferior, and sexualized view of women in advertising.
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Wiklund, Alexis. "The Male Gaze som retorisktverktyg : En utredande litteraturstudie över hur the Male Gaze kan användas inom retorikvetenskapen." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-22981.
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The thought behind this bachelor essay regarding gender and rhetorical feminist criticism developed years ago out of the fact that I read just a little too many dirty chick lit-pockets as a teen. Those chick lit-pockets were my first introduction to sex, to gender roles, to how men and women react and are supposed to react to each other and, in some sense, even to feminism. Those chick lit-pockets, later turning into hardcore Harlequin-books, became my benchmark when I started to contemplate the fact that this is a man’s world, produced and reproduced by a male gaze which influences everything from sex, porn, advertising, gender roles, jobs and payment to dirty pockets for teenage girls. The essays aims to show how the male gaze-phenomenon could be to use for the rhetoric discipline: first combined with other rhetorical theories as a way to analyze and understand gender and objectification. The main question asked; How to put the male gaze on a rhetorical leash? This bachelor essay consists of a qualitative literature study focusing on four articles and one book in which five different male gaze-perspective appears. Every article presented will be followed by an explicative chapter in which the articles, specific male gaze- perspective will be combined with relevant rhetorical theories and applied to pop cultural example cases in order to demonstrate its academic potential. The conclusion of this essay establishes that the rhetorical discipline indeed could have great use of the male gaze-perspective while analyzing different kinds of artifacts, if combined with different kinds of methods. It confirms that it is possible to put the male gaze on a rhetorical leash and explains five specific ways to do so.
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Lööf, Jenny. "An Inquisitive Gaze: Exploring the Male Gaze and the Portrayal of Gender in Dragon Age: Inquisition." Thesis, Stockholms universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-117976.
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This paper provides an account of how a normative male gaze is produced and upheld even in a video game famed for its inclusive nature, Dragon Age: Inquisition. The analysis originates in content studies concerning the portrayal of gender in video games in relation to in-game physical gender portrayal. It is followed by a contextualization of specific video sequences and certain game mechanics in relation to Laura Mulvey’s feminist film theory about the Male Gaze. Mulvey’s film theory approach, while useful as an intellectual tool, is not developed to be applied to video games and thus it is also necessary to consider any implications related to the interactivity of the game. As characters are subjected to a gendered male gaze in relation to both their physical appearance and attributes they are made to uphold the normative status quo. The Gaze is evident in how characters are portrayed, how the main character becomes a default male character regardless of actual gender and in the construction of women as something other. But most importantly, in the actual game mechanics through which all characters become objects for the player to use either in combat or to own in the guise of offering romance to the narrative.
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Sweeney, Christine. "Gendered glances the male gaze(s) in Victorian English literature /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/457041316/viewonline.
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Ilic, Sasa <1987>. "The Duel of the Gazes: Male Gaze on Women vs Female Self-Gaze in Carver and Altman." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3744.
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The visual quality in terms of audiovisual devices and style is a feature that that has been pointed out as a trademark in Raymond Carver's minimal realism. On the other hand, the theme of visuality, especially the visual depiction of the female body on the part of the 'male objectifying gaze', are features of Robert Altman's Short Cuts, the adaptation of some of this writer's stories, that have been widely criticized. Yet, the twofold issue of how female protagonists are visualized by their male counterparts and how female protagonists visualize themselves is a specific focus that has not been employed for the analysis of either of these american artists so far. An approach that both embraces and challenges features of already established theories on gaze, feminism and cinema theory, but also of theories of adaptation, will be employed in order to take into analysis the theme of male gaze and female self-gaze first in Carver's and then Altman’s productions. Arguably, in point of fact, Carver's female characters emerge from such an analysis as both objectified by the male gaze but also as subversive self-gazing subjects. Moreover, an intertextual perspective on the relationship between Carver's stories and Altman's adaptation and works will highlight not dissimilar complexities in Altman's empowered women 'performers' on the one hand and women characters contained to eros and thanatos dichotomies on the other. More generally, the 'intricacies of gazing' and the power a/symmetries underlying them are a fascinating ever evolving issue worth engaging in, that helps expanding the reasonings on each of these authors and their relationship.
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Grate, Rachel S. "Love at First Sight? Jane Austen and the Transformative Male Gaze." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/662.
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In this thesis, I claim that the gaze is central to the courtship process in Austen’s novels. I also propose that an analysis of the gaze is crucial to understanding the gendered power dynamics that are central to these relationships. We tend to think of male gazers as having all the power, but one of Austen’s subversive arguments is that women can also be subjects of the gaze and transform through it. However, limits exist to their power. As I will argue, while men are able to simply project their transformative gaze, women must first use their gaze to perceive their societal position before successfully having a transformative effect.
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Wixom, Tiffany Nicole. "Combating Voyeurism: Domenichino and the Protofeminist Artistic Tradition of Bologna." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6741.
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Domenichino (1581-1641), a Bolognese artist, painted a unique interpretation of Ovid's myth of the goddess Diana and mortal hunter Actaeon in 1616 titled, Archery Contest of Diana and her Nymphs. This image depicts the goddess and her nymphs actively engaged in various activities. This portrayal is drastically different from common depictions of the time period, in which the goddess is portrayed as vulnerable, weak, and subjected to male voyeurism. In contrast, Domenichino painted his female warriors as physically strong and empowered with their weapons in hand. Compared to the art of his contemporaries, Domenichino's painting clearly evidences that he was influenced and inspired by a well-established, protofeminist artistic tradition originating in Bologna. Bologna offered several contributing factors which created a receptive environment for female artists to thrive. Artists like Lavinia Fontana were able to create strong careers that were both profitable and competitive with those of their male contemporaries. Fontana's depictions of female subjects deliberately pushed against the stereotype of painting heroines as passive objects exposed to male voyeurism. In Archery Contest of Diana and her Nymphs, Domenichino approaches Diana and her nymphs in the same fashion as the Bolognese protofeminists. The women depicted are no longer passive objects to be gazed upon; rather they are actively engaged and have physically fit bodies. Domenichino and the protofeminist tradition redefined how heroines are depicted by empowering the women as dynamic participants in brave pursuits.
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Waugh, Lucian. "Representations of women in late nineteenth-century art : against the 'male gaze'." Thesis, University of Bristol, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.720852.
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Martin, David Nicholas. "Photography, Visual Culture, and the (Re)Definition/Queering of the Male Gaze." UKnowledge, 2019. https://uknowledge.uky.edu/art_etds/17.
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The traditional notion of the Male Gaze, first conceptualized by feminist film critic Laura Mulvey in 1975, focused on the objectification of women through depictions structured to gratify a male heterosexual perspective. In this chapter we will revisit this concept and investigate how that gaze may have shifted away from a primarily heterosexual perspective to a socially dominant male perspective (maleness here referring to dominance rather than specific gender, just as “whiteness” might refer to privilege rather than race). With gender roles in an increasingly global and mobile society becoming more fluid and complex, opening up visibility to LGBTQ communities, along with a substantial post-feminist backlash, we will consider how the male gaze is shifting and how subsets of objectifying “gazes” might overlap.
I will explore whether the traditional heterosexual male gaze has shifted due to power backlashes and other developments. New gaze developments may take the form of the “bromance” as well as athletics and advertising. Included in an investigation of this “dominant gaze” will be an exploration into the possibility of a lesbian and transgender gaze – does each subculture have the propensity to fall into this pattern of objectified looking and if so, where is the evidence and what are the implications? That evidence will be explored through photography, film, dance, and other visual media as this subject is expanded through the emergence of variant sexualities and gender identities.
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Hatt, Michael. "Framing the masculine body : the male homosocial gaze in late-nineteenth-century America." Thesis, Birkbeck (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246076.
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Bailey, Dorie. "Beefing Up the Beefcake: Male Objectification, Boy Bands, and the Socialized Female Gaze." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/743.
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In the traditionally patriarchal Hollywood industry, the heterosexual man’s “male gaze,” as coined by feminist film theorist Laura Mulvey, is the dominant viewing model for cinematic audiences, leaving little room for a negotiated reading of how visual images are created, presented, and internalized by male and female audiences alike. However, as Hollywood’s shifting feminist landscape becomes increasingly prevalent in the mainstream media, content incorporating the oppositional “female gaze” have become the new norm in both the film and television mediums. Through an extended analysis of the gaze as socialized through gendered learning in children, the “safe space” afforded through the formulaic platform of “boy bands,” and the function of romantic comedies and the emerging feminist rhetoric prevalent in such films as “Magic Mike: XXL,” the conceptual “female gaze” is defined and explored through the demographic of young girls as they grow and push their understanding of desire, particularly as they develop into the mature, media-cosuming women that have become increasingly vocal in the Hollywood sphere.
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Mahboob, Shaolee, and shaolee mahboob@gmail com. "The Representation of Women in Television Advertisements: a Comparative Analysis in Australia and Bangladesh." Flinders University. Women's Studies, 2007. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20080114.100907.
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This thesis considers womens representation in television commercials in Australia and
Bangladesh. It is an empirical study. A total of 780 advertisements were recorded from
various television channels of Australia and Bangladesh. Among them 280 and 500
advertisements were taken from Bangladeshi and Australian television channels
respectively. This thesis is about womens representation in television commercials in
Australia and Bangladesh. Bringing an interdisciplinary but empirical approach to a
broad range of recently screened advertisements, the thesis examines how femininities
are stereotypically represented in these two countries television commercials. The study
suggests that women are produced and reproduced as sexual objects and/or objects to be
looked at, and that representations of womens bodies circulate around the binary of
purity and pollution in heavily gendered and racialised ways. The interesting finding of
this study is the extension of the male-gaze concept where women come under the gaze
from (hetero) sexual perspectives. The study suggests that images of femininity and
racialisation are produced and reproduced. This constructs womens secondary position
and creates racial instability in societies.
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Jonsson-Wennberg, Edith. "En studie om genuskonstruktioner i svenska kokböcker." Thesis, Stockholms universitet, JMK, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131143.
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Idag råder ett växande intresse för kost och matlagning och det kommer allt fler nya forum för presentation av matlagning. Även det traditionella forumet kokboken har påverkats av den växande matlagningstrenden. Syftet med den här studien är att utifrån teorier om genus, representationer och streotyper undersöka om könet har en avgörande betydelse för vilken kost som presentereras samt hur genus konstrueras i Svenska kokböcker. För att ta reda på detta inelddes studien först med en kvantititv innehållsanalys av 107 kokböcker, samtliga utgivna på Bonnier fakta och Norstedts förlag under åren 2014 och 2015 i syfte att kartlägga sambandet mellan kost och kön. Baserat på det resultat som framkom valdes två kokböcker ut för att mer djupgående analysera hur genus kan konstrueras i bilder med hjälp av en semiotisk bildanalys. Böckerna som ingår i den kvalitativa delen är Moberg. Maten, drycken och konsten att kombinera (2015) av Per Morberg samt Tinas sommar (2015) av Tina Nordström. Reslutatet från dessa två analyser visar att författarnas kön har betydelse för vilken kost som presenteras i böckerna. Kvinnor skriver i större utsträkning än män om teman som rör hälsa, dieter, vegitarisk och vegansk mat och sötsaker. Män skriver istället mer om alkhol och olika kötträtter. I den semiotiska bildanalysen ser vi hur streotypa könsroller konstrueras och på så vis bidrar med ett upprätthållade av hegemoniska förhållanden där det kvinnliga könet underordnas det manliga i form av ett särskiljande och objektifierande.
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Thompson, Elisabeth Morgan. "Young women's same-sex experiences under the "male gaze" : Listening for both objectification and sexual agency /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2009. http://uclibs.org/PID/11984.
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Simpson, Harriet. "Looking into distance : feminine narrative strategies and the male gaze in female narrated prose fiction 1680-1780." Thesis, University of Liverpool, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366975.
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Bergqvist, Sandra, and Frida Mårdling. "Går vi mot mer jämställda och jämlika sitcoms? : En kvantitativ innehållsanalys på sitcoms ur ett intersektionellt perspektiv." Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-75144.
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This study investigates and maps out sociocultural groups in american sitcoms over two decades, the 1990s and 2010s. It also examines whether characters were portrayed in different stereotypes and how and if the male gaze occurs. All this was done through an intersectional perspective. A total of 30 sitcoms, 15 per decade, were examined by a quantitative content analysis. There was 168 characters coded in the sitcoms from the 1990s and 200 characters in the sitcoms from the 2010s, which make a total of 368 coded characters. Key findings showed that sitcoms in the 2010s had more diversity among ethnicity and sexuality compared to sitcoms in the 1990s. Yet caucasian and heterosexueal people were still overrepresented. More men were represented in both 1990s and 2010s sitcoms, but major roles were divided equally between men and women in 2010s american sitcoms. Compared to other studies, surprisingly little sexualization of women occured in the selection of american sitcoms. None of the 368 characters that were coded had any disabilities and very few older and retired people were represented.
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Lindberg, Frida. "Den digitala genusstrukturen : En kvalitativ innehållsanalys om hur genus konstrueras i tv-spel." Thesis, Stockholms universitet, JMK, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-125979.
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Populärkulturella medier som tv och filmer är något som under många år har granskats inom vad de berättar för dess konsumenter samt vilka strukturer och sociala konstruktioner som de representerar och reproducerar. Ett populärkulturellt fenomen som inte granskats lika tydligt är det idag växande tv-spelandet. Forskningen finns inom ämnet men har främst gjorts på sambandet mellan våld och tv-spel. Jag anser att det är tid att undersöka djupare om jämställds aspekter och genus i tv-spel. Syftet med denna uppsats är att identifiera de manliga och kvinnliga karaktärernas egenskaper och hur de ställs i relation till de motsatta könen utifrån tv-spel riktade till olika publiker. Detta har gjorts genom att undersöka två scener, en spelsekvens och en filmsekvens ur respektive spel utifrån karaktärernas egenskaper, kameravinklar samt dialoger. Studien utgår från en teoretisk referensram som handlar om maskulinitet/femininitet, tv-spel och postfeminism. Till undersökningen används en filmanalys inspirerad av ”How to study televison” med Selby & Cowdery samt inslag ur ”Visual pleasure and narrativ cinema” där Laura Mulvey redogör för ”the male gaze” och hur kameran vinklar blicken utifrån den manliga karaktären i scenen eller publiken. Materialet baseras på scener tagna ur två tv-spel, Grand Theft Auto V som riktar sig mot en manlig publik och Tomb Raider, definitiv edition, vilket istället är skapad för en kvinnlig publik. De valda scenerna har gjorts utifrån tillfällen i spelet där båda könen möts. Resultatet visade att kvinnor i spel utformade för en manlig publik ofta framställs som sexobjekt och att deras karaktärer utgår från deras relation till mannen. I spelet utformat för kvinnor är det fortfarande fokus på kvinnans kropp, men hon kan samtidigt agera som en postfeministisk förebild. Män framställs i båda spelen som aggressiva och dominanta medan kvinnor är deras objekt att styra, äga och erövra. I spelen som riktar sig till både män och kvinnor, ligger den sexuella framställningen i fokus. Min slutsats är att gamla föreställningar om maskulina och feminina representationer och egenskaper ligger till grund för spel riktade till en manlig publik. I spel riktade till kvinnor har ett steg närmare en jämställd spelvärld tagit form.
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White, Heather Elizabeth. "Sirani, Iole and Protofeminism in Early Modern Bologna." BYU ScholarsArchive, 2019. https://scholarsarchive.byu.edu/etd/7517.
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Elisabetta Sirani (1638-1665), a Bolognese artist, significantly contributed to the Italian protofeminist tradition through her three depictions of the classical figure Iole. These images are drastically different than other depictions of the time period because Sirani shows Iole as an isolated figure removed from her turbulent relationship with Hercules. By focusing on Iole as an individual, Sirani allowed Iole to be seen away from the male gaze; in doing so, Iole encompassed masculine characteristics while maintaining her sovereignty and femininity. Sirani's paintings of the strong and confident Iole are clear evidence that not only was Sirani inspired by the receptive environment in which she was raised, but she was also actively empowering women through her art and advancing the protofeminist tradition in early modern Italy.
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Roman, Jordan Michele. "An Investigation into the Effect of Oxytocin in the Amygdala on Gaze Following Behavior in the Male Macaque." Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/579408.
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Gaze-following is an essential element of social interaction, and its absence is diagnostic of autism spectrum disorder (ASD) and other neurodevelopmental disorders. Recent studies indicate that oxytocin increases attention to eyes in humans and non-human primates, and as such has possible therapeutic applications in the treatment of ASD. To test the hypothesis that oxytocin also increases gaze-following, two male rhesus macaques were given oxytocin intranasally and one was also given oxytocin injections into the nucleus basalis of Meynert (NBM) and the amygdala. The results indicate that intranasal oxytocin does increase the frequency of gaze-follows, and that this effect is likely mediated by the NBM and not the amygdala. The results also demonstrated that subjects have individual preferences (for movie monkey, gaze direction, and movement, for instance), which made them more likely to gaze-follow in response to certain movies over others. Further experiments are necessary to determine the conditions that must be met in real-life social situations that induce gaze-following in monkeys.
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Lauvaux, Léonie. "Broder la pornographie. À la recherche d'un désir féminin." Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20079/document.
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Cette thèse s’attache à questionner l’utilisation de la pornographie dans la « broderie subversive » par les plasticiennes. Cette démarche semble a priori paradoxale. Pourquoi, les plasticiennes brodent-elles des images de femmes objectivées ? Pourquoi utiliser la broderie alors que cette pratique est considérée comme un passe-temps féminin ? Pourquoi s’emparer de la pornographie, faite par les hommes pour les hommes ? L’analyse d’un large corpus d’œuvres brodées, au prisme des « gender studies » et des « porn studies », permet de saisir les enjeux de cette démarche singulière. Les plasticiennes utilisent un médium caractérisé comme essentialiste pour déconstruire de « l'intérieur » les valeurs patriarcales transmises par la tradition du tissu, posture basée sur une succession de paradoxes. Ainsi, par la représentation brodée du sexuel, voir même de leur sexualité, les plasticiennes sont amenées à questionner leur propre identité de genre. Le sexuel brodé permet de se réapproprier son corps et son imaginaire, de s'interroger personnellement sur son identité (par l'utilisation d'un médium a priori genré). Cette construction du « moi » est soumise à un double paradoxe, tout d'abord celui de l'utilisation d'un médium féminin, subverti par le détournement artistique, et d'images objectivant les corps des femmes alors qu'il s'agit de se les réapproprier. Dans l'exploration de ces deux paradoxes, dans leur confrontation, dans cet espace, peut alors se penser l'identité (de femme et d'artiste) dans une société androcentréeThis thesis aims to interrogate how women artists use pornography in the subversiv stitch. This reflection might seem paradoxical. Why do women artists embroider pictures of objectified women ? Why use embroidery ? And why appropriate pornography that is made by men for men ? The analysis of a large corpus of embroiedered works, though the lens of gender studies and porn studies, allows to seize the issues of this peculiar approach. Women artists use a medium defined as essentialist to decompose – from the inside – the patriarchal values inherited from the textile tradition. Through the embroidered representation of the sexual – even of their own sexuality – women artist are led to question their own gender identity. The Embroidered sexual allows one to reappropriate their body and imaginary – and to interrogate themself about their identity (through a medium primarily perceived as gendered). This construction of the self is submitted to a double paradox, hich is the use of a feminine medium – subverted by artistic hijacking – and pictures of objectified female bodies, whereas the whole purpose is actually to reappropriate those bodies. Somewhere between those paradoxes might emerge and be thought the identity – of woman and artist – in a androcentric society
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Lundberg, Jenny. "Ett omslag trovärdigt nog att köpas : En kvalitativ studie om gestaltningen av mannen och kvinnan på tidningsomslag till modemagasin." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-23801.
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Det finns forskare som menar att medierna är med och skapar vår identitet, därför måste vi ställa oss kritiska till de bilder vi ser. Enligt Gillian Rose ska vi med noggrannhet granska de bilder som exempelvis ett omslag har, för där det finns vissa kriterier vi måste ta hänsyn till. Syftet med min studie är att med semiotiska och retoriska verktyg analysera Elle, Plaza Kvinna, GQ samt King’s omslag för att se om män och kvinnor gestaltas olika beroende på vilken publiken är. Samt om det finns en skillnad tidningarna emellan. Med hjälp av Yvonne Hirdmans genusteori, Erwing Goffmans teori om avkodningen på bilden samt Laura Mulveys begrepp ”the male gaze” såg jag hur omslagen med en manlig publik gestaltade både män och kvinnor på sina omslag. Samt att de omslagen som inriktade sig till kvinnlig publik endast gestaltade kvinnor. Av de fyra modemagasinen som jag valde att analysera så anspelade tre av dem på kända personers trovärdighet istället för att låta kläder eller skönhet tala. Ord som blev centrala i analysernas konnotativa del var bland annat självständighet, makt, elegans och fullständighet.There are scientists who believe that the media are creating human’s identity, therefore we need to be critical to the images we see. According to Gillian Rose we must view the cover pictures carefully with several criteria to take into consideration. The purpose with this study is to analyze Elle, Plaza Kvinna, GQ and King’s covers to see if men and women are portrayed differently depending on who’s looking. With the help of semiotic and rhetorical tools I saw a difference to how the genders were portrayed. The theoretical position I have taken is gender theory by Yvonne Hirdman, the theory Erwing Goffman presents in his work Media Advertisement where he talks about the decoding of a picture and Laura Mulveys concept of” the male gaze”. In the material, I saw that a different was made between male and females. The magazines that had a male audience portrayed both men and woman on their covers. And the magazines that has a female audience portrayed woman only. Of the four- fashion magazine three of them focused on the credibility of the model instead of letting the fashion speak.
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Jensen, Marissa D. "The Way to a Man’s Heart Is through His Stomach: Male Consumption and Female Social Edibility in Laços de família by Clarice Lispector." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8929.
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Critics of Clarice Lispector often identify feminist themes relating to voice, gender, and the male gaze in her creative work. Lispector’s collection of short stories Laços de família demonstrates the way patriarchal society sets limits on the identity of women. Laura Mulvey’s concept of “the male gaze” provides a useful tool for understanding how men marginalize, objectify, and subordinate women through visual regimes of control, yet Mulvey’s concept does not fully encapsulate the scope of male oppression explored in Laços de família. In fact, Lispector draws upon a variety of senses and metaphors related to consumption through a mode I call food femininities to display how men consume their female counterparts in society. More specifically, Lispector’s collection Laços de família invokes, presents, and uses food, food imagery, food vocabulary, and food metaphors as a central way of defining gender roles determined by society and performed in accordance with the normative standards dictated by said society.
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Hansen, Hanna. "Lager på lager." Thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-39149.
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Lager på lager är ett examensarbete i informationsdesign med inriktning rumslig gestaltning i samarbete med Västerås konstmuseum. Projektet går ut på att förtydliga och synliggöra stadens offentliga konstverk med hjälp av olika typer av tillägg eller gestaltningar. Många av stadens offentliga konstverk besitter mycket föråldrade budskap och normer som inte stämmer överens med dagens samhällsnormer och värderingar. Mitt arbete syftar till att skapa förståelse för hur ett offentligt konstverk kan bli synligt och samtidigt skapa en ifrågasättande attityd till en skulpturs grundläggande normer. Med stöd av litteratur och resultat från omvärldsanalys, rumsliganalys, formalanalys och en observation har jag tagit fram ett gestaltningsförslag som jag applicerat vid konstverket Eva som är en skulptur i Botaniska trädgården i Västerås. Eva föreställer en kvinna som med ett passivt uttryck poserar naket. Med hjälp av min gestaltning kommer Eva som konstverk och hennes inneboende normer och budskap synliggöras för att få fler människor att uppmärksamma dem. Något som förhoppningsvis både kan skapa intresse och debatt.
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Garsten, Sofia, and Miriam Nilsson. "Deus Ex Machina : en kvalitativ studie i skildringen av feminin artificiell intelligens i filmen Ex. Machina." Thesis, Stockholms universitet, JMK, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-125584.
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With this study, the authors wish to highlight the way artificial intelligence, as a new form of media technology, seems to be ascribed gender, both in fiction and reality. These, by humans artificially developed beings, would not need to be gendered, but still are. Given these beings are human made and new phenomenas, an opportunity of preventing boundaries considering gender, class and etnicity to be reproduced would be possible and in favour. By analysing the Alex Garland 2015 film Ex Machina, the authors wish to discuss how and why the artificial intelligence becomes gendered, particularly feminised, and what this means from a wider perspective concerning the way we look at this new technlology not yet fully introduced in real life. By using post- and transhuman theory mixed with feminist theories such as Judith Butlers theory of perfomativity, Donna Haraways posthuman feminist theory and Laura Mulveys theory of The Male Gaze, this study results in a qualitative text analysis. The methodic tools used in this study contains elements from visual text methods and therefor also semiotics. The authors reach to the conclusion that the depiction of artificial intelligence in the film Ex Machina (2015) reproduces stereotypic feminine gender acts and even intensifies these. When these ways of presenting new and futuristic technology seems to appear in ficiton, an assumption can be made that they origin from existing and deep gender acts in the western society. Researchers, such as Donna Haraway, wishes for these strong boundaries in gender, class and etnicity to not be reproduced in new technology, but in the fictional case of the film Ex Machina (2015), this wish has unfortunately not been fullfilled. If society would be able to rethink the sharp boundaries between nature and technology and succeed with this ontological change in the way we look at humanity, it would hopefully be easier to approach the new technology with an open mind. Perhaps then the reproduction of gender stereotypes in this new technology would cease in fiction, but also in reality.
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Sherrill, Brenna Elizabeth. "The Birth of the MPDG 2.0: The Potential for the Manic Pixie Dream Girl Trope in Independent Film." TopSCHOLAR®, 2016. http://digitalcommons.wku.edu/theses/1572.
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This project chronicles an in-depth character study on the Manic Pixie Dream Girl trope in film. The term was coined in 2007 by a film critic about a very specific kind of female character—one who exists “solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures.” The MPDG has often been written off as nothing more than a stereotype or sexist characterization of a woman, but I argue that the MPDG can be much more than a flat character, as evidenced by the increasingly complex characterization of the MPDG in independent film. Based on case studies of several films, I discuss how the MPDG has grown from a supporting archetype into a well-rounded and multi-dimensional character. Based on a history of female depiction in film, a discussion of the critical interpretations of the MPDG, and these case studies, I argue that the MPDG has the potential to exist as a complex and realistic character rather than just an archetype.
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Zucchini, Ilaria. "Il fenomeno del teenybop:messaggi, importanza e rapporto con i media della musica prodotta dalle teenager per le teenager." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amslaurea.unibo.it/10622/.
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Ragnestam, Maria. "Drapering av en illusion : En komparativ studie med utgångspunkt i fotografierna av Leila Khaled och Shirin Neshat." Thesis, Södertörn University College, The School of Culture and Communication, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1033.
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The aim of this paper is to perform a comparative study between the photography’s of Leila Khaled and Shirin Neshat in order to observe if the woman are able to recede from an conventional formation to become the bearer of the veil and not only reduced to that which
needs to be concealed. From a feministic perspective I have observed how the symbolic of the veil moulds the woman and how the woman in her context moulds the veil.
In the description of the news photography of Khaled and the art photography produced by Neshat the mechanisms that lies as a foundation for the modelling of the portraits becomes
the essays primary entrance. Mechanisms that evolve around the creation of the woman as aconcept, a subject shaped for being looked at and the woman’s self-image through others.
The textual discourse is visually enhanced through a comparative picture material visually enhanced and explained through photographs by the contemporary artist photographers Cindy Sherman, Catherine Opie, Laurie Simmons, Robert Mapplethorpe and Elin Berge. The visual comparative material also interacts with the essays primary picture material and further expresses the oppression of the woman that occurs irrespective of culture through a patriarch cal gender system.
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Jonasson, Falkengren Malin, and Mathilda Gustafsson. "Gestaltningen av kvinnor i kvinnomagasin – nu och då." Thesis, Mittuniversitetet, Avdelningen för medie- och kommunikationsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-32893.
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Problemformulering och syfte: D etta är en studie av den kvinnliga gestaltningen i två olika kvinnomagasin från olika årtionden. Studien berör hur kvinnan beskrivs och framställs i text samt bild i de studerade magasinen. Vi ämnar att jämföra resultatet mellan magasinen för att se om det finns några eventuella skillnader i gestaltningen. Metod och material: Vi har valt att använda oss av en kvalitativ innehållsanalys för text och en semiotisk analys för bild i respektive magasin. Tillsammans med dessa två analyser har vi även valt att göra en kvantitativ presentation av magasinens olika teman och egenskaper. Den översiktliga kvantitativa genomgången har fungerat som en urvalsprocess för att sedan hitta tio representativa artiklar att analysera i vår kvalitativa innehållsanalys. Huvudresultat: Studien visar att kvinnan gestaltas på olika sätt i Hennes jämfört med i Veckorevyn . Kvinnorna i magasinet Hennes från 1973 framställs framförallt som svaga, undergivna, passiva och utsatta för makt. Det stora fokuset ligger på den framgångsrika mannen och hans karriär. Hennes valde även att främst lägga fokus på kvinnans utseende och kvinnokroppen där kvinnan förväntas vara attraktiv för mannen. I Veckorevyn framställs istället kvinnorna som starka och självständiga. Detta märks tydligt i den kvalitativa innehållsanalysen samt den semiotiska analysen att kvinnan gestaltas som framgångsrik, driven och målinriktad.
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Bång, Öberg Fredrik, and Jonas Johansson. "Kvinnotyperna i Grand Theft Auto V : En narrativ analys av kvinnliga karaktärer i tv-spelet Grand Theft Auto V." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-68419.
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In the thesis, the authors investigate how the women in the videogame Grand Theft Auto V are being portrayed in three different walkthrough videos on YouTube. With the aid of theorist Mieke Bal and her narratology terms, the authors of the thesis can examine the characters. The academic theories used for the thesis are gender, representation, videogame and the male gaze, as well as narratology. The issues being handled in this study are meant to answer how the portrayal of women characters are, and how the different portrayals differ from the represented characters. The third issue describes how women are being treated by the protagonists in the videogame. Over the course of the study, the authors found that the majority of the characters are described as flat in the videogame, and maintains a stereotypical image. This stereotypical portrayal commence from sexual references and treatment from the protagonists. However, a few characters can be described as round. These characters develops with time. There are also examples from the study that shows that there are characters who portray a dominant personality, therefore breaking the common pattern.
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Werbowsky, Charlotte. "Mötet mellan skäggiga män : Hur ett socialt möte skapar en plats." Thesis, Umeå universitet, Kulturgeografi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-123286.
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ABSTRACT Today our physical appearance is more important than before. The way we physically present ourselves is how many of us would like to be seen. By acting a certain way, dressing a certain way or spend time with a certain social group we identify ourselves. A certain style that an individual presents can say something about what that individual are interested in and how the person spends his or her time. Today many complement their physical appearance with a physical attribute like a beard. Beard is seen as something that is trendy and masculine. Many men identify themselves with their beard, even thou it is only a part of the male physical appearance. In Sweden there is a beard contest called “En Karl Med Skägg” this is an event with an audience that nominates Sweden’s best beard of ten final contestants. Men all over the country apply for the contest. A jury then selects ten men that will be the final contestants for the best beard of Sweden. This thesis is going to analyze the social meeting that the participants create while participating in the contest and the importance of that meeting to them. While participating in the event, participants give the place of the event a meaning and the place of the event also got a meaning to the participants both socially and geographically. These men create a social place that is time-stretched with an importance to them. This thesis is also going to examine how this type of event symbolizes modern culture and how the male gaze is of higher importance than before historically. The thesis is going to analyze the connection between the male self-identification and participating in a social meeting between others, by appearance similar individuals.
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Därth, Julia. "Rewrite : A thesis discussing how to rewrite destructive gender norms in the commercial fashion industry." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96656.
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The purpose of this thesis is to explore how gender norms are represented and depicted in the commercial sphere of fashion, affecting primarily females. The thesis will highlight the voices of several young females of today and their perception of how it is to be influenced and exposed to gender norms in regards to fashion. This thesis theoretical chapters consists of theories in gender norms, norm-critical design, fashion magazines, editorial design, fashion photography, norm-critical photography and intersectional feminism. Furthermore, the method used for this paper are interviews, a total of 17 people were interviewed, whereas five of them are currently working in either the commercial fashion industry or as creatives on a global level. The interviews occurred online, through both emailing and Instagram. This thesis concludes that several aspects, primarily based on the male gaze negatively influence gender norms in the commercial sphere of fashion. However, it is also concluded that there are several change agents, working towards breaking these toxic influences. The thesis is also part of a design project, which final outcome is exhibited at the exhibition Windows Of Opportunity. An online exhibition hosted by the program Design + Change and Visual Communication + Change, at the Linnaeus University in Sweden. https://2020.designportfoliolnu.se/studentwork/rewrite/
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Nilsson, Martina. "Tempo och maskulinitet – Filmsemiotisk analys av musikvideon till låten Territory av The Blaze." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21797.
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Denna uppsats har gjorts i syfte att undersöka relationerna som finns mellan den filmtekniska aspekten av tempo och porträttering av manlig intimitet. Musikvideon till låten Territory av The Blaze analyseras genom en filmsemiotisk analys ur ett genusperspektiv. Metoden utformas efter hur aktivitet är representerat genom icke-verbal kommunikation för att läsa av vart intimitet uppstår och uteblir. Kommunikations- och genusteorier appliceras sedan på materialet för att se hur det påverkas av valet att skildra representationen med slow-motion eller normalt tempo. Användningen av slow-motion bidrar till att sakta ner i narrativet där den manliga intimiteten kan liknas till det sätt som kvinnor vanligtvis porträtteras genom Mulveys teorier gällande den manliga blicken.The purpose of this essay is to analyze the relations between the use of pace and representation of masculine intimacy. The music video to the song Territory by The Blaze is observed through a gender perspective in a film semiotic analysis. The method involves how intimacy is represented through non-verbal communication. The material will be analyzed through theories involving communication and gender identity to see how it is affected by pace. This leads to the result of a conclusion that slowing down the narrative contributes to a representation of male intimacy to have resemblance to how women are portrayed according to Mulvey’s theories about the Male gaze.
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Cserhalmi, Nora. "Konstruerad utsatthet : En bildsemiotisk analys av Nathalie Djurbergs stop motion-filmer Greed och Cave." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-378575.
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This essay aims to analyse how the exposedness is constructed in the Swedish contemporary artist Nathalie Djurberg’s two stop motion-films Greed and Cave. Five stills from Greed and three stills from Cave will be examined from a feminist perspective with a theoretical viewpoint based on theories from both art history and film studies. The method applied is visual semiotics which focuses on how meaning is created within an artwork rather than what the meaning is. The stills from Djurberg’s films are analysed first on a denotative level and then on a connotative level. Furthermore, visual semiotics theorises that everything is made up of systems of signs which allows this essay to study how the women in Djurberg’s movies functions as signs. The essay demonstrated that the women in Djurberg’s films can be seen as passive objects under the power of the male gaze. However, the analysis also displayed that the woman in Cave can be perceived as someone who defies the patriarchal norms for how a woman should behave and look. Nonetheless, the exposedness of these women seems to be constructed firstly in their bodies and how they are represented, both in looks but also how they are posed to reinforce patriarchal conventions in the female representation, and secondly in their relation to male characters - or the implied male gaze from a spectator - in the films. The women in Djurberg’s films can thus be understood as signs for male sexual desires, as signs for the Woman posing as the Man’s opposite, as the objective for His gaze.
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Jensen, Amy Alexandra. "The representation of the female body/embodiment in selected mainstream American films / A.A. Jensen." Thesis, North-West University, 2014. http://hdl.handle.net/10394/10603.
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In her article “Visual pleasure and narrative cinema” (1975) Laura Mulvey explains how film portrays the female characters as passive sexualised objects, on display for the male (erotic) gaze. Although, Mulvey did make amendments to the original article after it was criticised, her original article is still influential and referenced in academic writing on film. This dissertation investigates how the three selected mainstream American films, namely, Alice in Wonderland, Monster and Transamerica, have female protagonists who deviate from Mulvey’s initial standpoint and enact a new dynamic, whereby the female characters possess active bodies. In order to explain this new dynamic, the dissertation provides an overview of relevant theory in order to establish the necessary analytical tools to investigate the representation of the female body. These tools are taken from feminist notions of the body, most importantly Mulvey’s notions, in order to establish what constitutes an active female body that subverts the male gaze. This subversion is most notable when examining the iconography of the active female body. The dissertation also draws from the overview the importance of place and space, the embodiment of the characters’ inner workings in specific locations, and their relationship with the locations in which they are depicted. Since all three films include a physical journey on which the respective protagonists embark the examination of borders and border crossings is included. The dissertation shows that journeys bring with them the opportunity for the body to be active, as each female protagonist is on a journey to self-discovery. The changing settings in which the protagonists find themselves are an embodiment of their inner workings. Topographical borders mark the entering of new locations. However, concomitant symbolic and epistemological borders are also crossed. The female protagonists need to make choices concerning their lives and as a consequence alter the representations to reflect bodies that subvert the male gaze. These female bodies are active. However, they are active in different ways. Alice, from Alice in Wonderland, delves into her psyche to emerge a changed and independent Victorian woman. Bree, from Transamerica, heals the relationships with her family and is able to have her gender reconstructive surgery to become a physical woman. These two female protagonists have positive representations of the active female body. The protagonist from Monster, Aileen, is represented in a constant state of abjection and her active body is portrayed in a negative light. Whether represented in a positive or egative light, these chosen films all portray an active female body that does subvert the male gaze, and hence represent a new dynamic different from the one Mulvey described.MA (Language Practice), North-West University, Vaal Triangle Campus, 2014
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Fisher, Alyssa N. "Women on YouTube: Exploring identity performances of female creators using intersectionality and media ecology." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1566571780335901.
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Lindberg, Emma. "Genus och stereotyper inom reklam : En kritisk diskursanalys av Gillettes reklamfilmer på YouTube." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-170294.
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Gender and stereotypes in advertising is a critical discourse analysis aimed at studying how femininity and masculinity is portrayed in Gillette and Gillette Venus marketing on YouTube. Both brands have, after the #metoo campaign, opted to approach their marketing from different point of view since their previous advertising has been heavily criticized for endorsing negative gender stereotypes. The theoretical framework consists of commodity feminism, the male gaze, stereotyping and hegemonic masculinity. The material studied were three commercials taken from each brand’s YouTube channel since the change in marketing direction. The videos were posted in 2018-2019. The results show that although both brands have made a change in how they portray femininity and masculinity there are still sizeable differences in how women and men are approached as target groups.
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Svensson, Jennie. ""I just wanna wear this dress" : En studie av hur kvinnor porträtteras i reality-serien The Hills." Thesis, Stockholms universitet, Institutionen för journalistik, medier och kommunikation (JMK), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-39942.
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Denna uppsats syftar till att kvalitativt undersöka hur kvinnor porträtteras i fem utvalda avsnitt av The Hills (MTV), med fokus på deras beteende och uppträdande i frågor som karriär, utseende och relationer till män. Detta undersöks med hjälp av ett analysschema som har utformats utifrån Keith Selbys och Ron Cowderys analysmodell för att studera television. Undersökningen vilar på en genusteoretisk grund och teorier som används är bland annat R.W. Connells hegemoniska maskulinitet, Yvonne Hirdmans genuskontrakt, Laura Mulveys ”the male gaze” och en vidare utveckling av Foucaults teori om ”the panopticon”. Detta kompletteras med forskning av bland annat Rosalind Gill, Angela McRobbie och Hillevi Ganetz. I min analys framkommer att det förekommer väldigt få skildringar av kvinnor vars beteende utmanar en traditionell syn på kvinnligt uppförande. Vidare betonas kvinnors utseende starkt och karaktärerna visar ett flertal gånger fokus på äktenskap. Sammantaget leder analysen fram till en slutsats att kvinnor i The Hills inom samtliga undersökta områden till stor del skildras på ett sätt som befäster en stereotyp genusstruktur.
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von, Plato Anna. "Vinylskivan och dess estetik : En komparativ analys av tre olika skivomslag som använder kvinnokroppen som verktyg." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182413.
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Denna uppsats syftar till att diskutera vinylskivan och dess omslags estetiska utveckling under 1900-talet samt hur vinylskivan har fungerat som musikmedium. Vinylskivans omslag kommer att diskuteras utifrån hur det har påverkat skivmarknaden under tiden vinylskivan var det rådande musikformatet. Uppsatsen kommer också att undersöka tre skivomslag för att undersöka bruket av kvinnligt kodade kroppar inom populärmusik och varför dessa har blivit utvalda att representera musiken inom musikmediet “skivomslag”. Det kommer att ske en utvecklad version av Erwin Panofskys ikonografisk bildanalys med hjälp av Roland Barthes semiotiska metod.Jag kommer att använda Sébastien Telliers album Sexuality (2008), The Strokes album Is This It (2001) och Kesha’s album Rainbow (2017) i analysen. Jag kommer att ta hänsyn till skillnader och likheter av utförandet kring skivomslaget om det är en manlig upphovsperson respektive kvinnlig upphovsperson. I uppsatsen kommer det också ske en diskussion kring skivmediumet i sig och vad skivans förpackningen inom musikmarknaden har betytt för konsumtionen med dessa bildmotiv. Uppsatsen består av två kapitel, det första kapitlet fokuserar på vinylskivan och dess designutveckling och i kapitel två kommer den ikonografiska/semiotiska bildanalysen att avhandlas. Uppsatsen avslutas i en avslutande diskussion och en sammanfattning.
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Davis, Claudia M. "The Objectification of Women in Cane." Cleveland State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=csu1386770950.
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Jilkén, Olle. "Fiskmannen, Myten, Legenden : En studie om manliga sjöjungfrur ur ett genusperspektiv." Thesis, Stockholms universitet, Institutionen för etnologi, religionshistoria och genusvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-145063.
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This paper addresses the representation of the male equivalent of the mermaid - the merman - in illustrations. The paper relies on a theoretical framework of gender studies, queer theory, masculinity studies and previous studies of the mermaid including psychoanalysis and folkloric studies. The paper focuses on four different representations of the merman: The Pin-up, The Romantic Couple, The Fish Boy and The Elderly Merman. Each type is examined by their portrayal of gender, sexuality, masculinity, the gendered gazes in the picture and the intertextual relation to mermaid mythology, folklore and research. The paper concludes that the illustrations of the merman are shaped by a polarized gender norm. The different representations show a wide range of implicit looks, sexualities and various ways in how they relate to the mermaid myth. Some strategies implemented in the pictures imply that the male body still resists an objectified position. The sexualized merman follows the beauty ideals for the western man in mainstream media since the 1980’s where whiteness, muscles, youth and sensitivity are prioritized. The mermen that do not follow this ideal is pictured as frightening and/or asexual. All mermen have in common that they are feminized and exoticized due to their close connection to nature.
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Östlund, Karin. "Femininitet, sexualitet, kropp och makt : En semiotisk bildanalys av Kim Kardashian Wests selfies på Instagram." Thesis, Stockholms universitet, Genusvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-151842.
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Uppsatsen syftar till att undersöka hur Kim Kardashian West porträtterar sig själv i sina selfies och porträtt på sitt Instagramkonto. Fokus ligger på att undersöka detta utifrån maktaxlarna kön och sexualitet och hur hon iscensätter dessa i sina bilder. En av frågeställningarna som uppsatsen syftar till att besvara är hur hennes selfies och porträtt kan tolkas i relation till femininitet, sexualitet, kropp och makt. En annan frågeställning syftar till att besvara huruvida selfien som fenomen är sexistisk och objektifierande, eller om den är ett uttryck för självbestämmande över ens kropp. Materialet som används för att besvara frågeställningarna är fyra bilder som Kim Kardashian West har lagt upp på sitt Instagramkonto. Två av dessa är selfies och två är porträtt. Tre av bilderna föreställer Kim Kardashian West lättklädd och sexuellt poserande. En av bilderna porträtterar henne i ett entreprenörssammanhang. Uppsatsen utgår från flera teoretiska ramverk, exempelvis Erikssons och Göthlunds redogörelse för teoribildningen om hur kvinnokroppen har porträtterats genom tiderna och Mulveys teori om ”the male gaze”. Vidare redogör uppsatsen för tidigare forskning om bland annat selfies och porträtt och vikten av att ha ett personligt varumärke i en tid av medialisering och kändiskultur. Analysen baseras på en semiotisk bildanalys uppdelad i två olika nivåer, denotativ och konnotativ, på alla fyra bilder. Efter analysen följer en avslutande diskussion som återkopplar till frågeställningarna och drar slutsatser kring dessa. Resultatet pekar på att selfien är ett komplext fenomen. Trots att Kim Kardashian Wests selfies ofta anspelar heteronormativa ideal kring sexualitet och den kvinnliga kroppen, så kan selfien likväl tolkas som ett uttryck för självbestämmande som ett uttryck för sexism och objektifiering. Nyckelord: Kim Kardashian West, Instagram, selfie, sociala medier, kändiskultur, the male gaze, kvinnokroppen, femininitet, performativitet, objektifiering.
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Backhouse, Camilla, and Matilda Kock. "I det stereotypa blickfånget : En kvalitativ analys av huvudrollskaraktären Saga Norén i tv-serien Bron, ur ett genusperspektiv." Thesis, Högskolan i Gävle, Media- och kommunikationsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-27082.
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Denna studie är en kvalitativ filmanalys av den populära tv-serien Bron, med fokus på huvudkaraktären Saga Norén. Studien utgår från teorier kring den manliga och kvinnliga blicken. Uppsatsens syfte är att belysa ämnet kring hur en kvinna förväntas uppträda utifrån de rådande normerna, men också hur hon uppfattas av andra. Uppbyggnaden av genus- och könsmaktsordning är ett ständigt relevant forskningsämne, där mediernas kraft att påverka publiken spelar en viktig roll. Studien är baserad på könsteorier som relaterar till stereotyper, såväl som den manliga blicken. Till studiens analysdel skapades ett analysverktyg baserat på Selby och Cowderys trestegsmodell och mise-en-scén. De scener som valdes ut för analysen sorterades i fyra olika kategorier baserat på återkommande mönster. Varje kategori sammanfattades i en kort sektion, som samtliga diskuteras i det sista avsnittet. Resultatet av studien visar att Saga Norén avviker från hur en stereotyp kvinnlig karaktär förväntas uppträda. Hennes sätt att framträda, och det avvikande beteendemönstret bidrar också till att hon inte upplevs att synas i bild för att behaga någon.This study is a qualitative film analysis focusing on the main character Saga Norén in the popular tv series Bron, based on the male and female gaze. The essay highlights the topic of how a woman is expected to behave based on the prevailing gender roles, but also how she is perceived by others. The construction of gender and gender roles is a constantly relevant research topic, where the media's power to influence the audience plays an important role. The study is based on gender theories that relate to stereotypes, as well as the male gaze. For the analysis part of the study, an analysis tool was created based on Selby and Cowdery's three-stage model and mise-en-scène, using these theories as a foundation. The scenes selected for the analysis were sorted into four various categories based on recurring patterns. Each category was summarized in a short section, to be discussed in the final section. The result of the study shows that Saga Norén departs from how the stereotype female character is expected to behave. Her way of appearing, and the deviant behavior pattern also contributes to her not being perceived to exist in a position to please.
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Tell, Cornelia. "Vem får vara naken på Instagram? : En jämförande bildanalys av fotografier som tagits ner från, respektive tillåtits finnas kvar på, Instagram." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-406944.
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The aim of this essay is to examine the censorship that the social media platform Instagram exerts over pictures of female nudes, and whether the body type of the women depicted is a factor in how the censorship is carried through. This is executed by making a comparative picture analysis of eight nude photos published on Instagram, four of which are allowed on the platform and four which are not, and have therefore been deleted. The bodies are analysed, and aspects of how they are depicted which are related to the Instagram Community Guidelines, and furthermore if the body depicted conforms to the norms of our contemporary beauty standards and “the Male Gaze”, are reviewed. This fundamental part of the study isbased on the formal analysis and the methods of semiotics. Furthermore, the history of the nude in art, the body norms and ideals of our contemporary society, the Instagram Community rules and Guidelines and the artists are presented briefly. The discussion which has been carried through is based on the analysis and thesis of how female nudes of the Western art cannon have been received, judged, divided into categories and censored to answer the central inquires of the essay. In conclusion, this essay finds how pictures of nude women on Instagram are received, judged, and censored differently depending on whether they fit into the norms of beauty and conform to the male gaze. Hence, the rules of Instagram are found to have been followed through with double standard and bias.
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Pullen, Naomi Margaret. "Dwelling at the margins : an exegesis of the film Boundaries." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16313/1/Naomi_Pullen_-_Boundaries.pdf.
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" Dwelling at the Margins" is an exegesis of the short film Boundaries. Boundaries is a journey into the world of marginalised young people in inner urban Brisbane seen through the eyes of a the female main character with an eye for gentle beauty. The film forms the first part of the research and in the exegesis the ideas unfold that were behind the making of the film and that emerged further through its production and audience reception. The exegesis discussion centres on the major aspects of the film which are visual representations, female narratives and the themes of home and dwelling. Boundaries is a political film that looks from the edges of society. The exegesis seeks to explain the ideas behind this intention.
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Pullen, Naomi Margaret. "Dwelling at the margins : an exegesis of the film Boundaries." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16313/.
Full textAbstract:
" Dwelling at the Margins" is an exegesis of the short film Boundaries. Boundaries is a journey into the world of marginalised young people in inner urban Brisbane seen through the eyes of a the female main character with an eye for gentle beauty. The film forms the first part of the research and in the exegesis the ideas unfold that were behind the making of the film and that emerged further through its production and audience reception. The exegesis discussion centres on the major aspects of the film which are visual representations, female narratives and the themes of home and dwelling. Boundaries is a political film that looks from the edges of society. The exegesis seeks to explain the ideas behind this intention.
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Gränglid, Olivia Signe Afrodite. "Misogyny in the Marshlands : female Characterization in Seamus Heaney’s “Bog Queen” and “Punishment”." Thesis, Högskolan Kristianstad, Fakulteten för lärarutbildning, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-22122.
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This essay argues that the depiction of women in Seamus Heaney’s poems “Bog Queen” and “Punishment” results from the male gaze in three ways: the narrative viewpoint, stereotypical characterization, and the objectification of the female body. The following essay analyses the poems through an ecofeminist perspective that enables examination of the female characters as personifications of nature – “Bog Queen” as Mother Earth and the victim of “Punishment” as Nerthus, the fertility goddess. The analysis explores three areas; historical context, ‘The Feminine Principle,’ and Nussbaum’s list of ‘Feminist Perspectives on Objectification’ to answer how the male gaze is present in the three aspects. The male gaze is argued to be attributed to an androcentric narrative that presents a man and country’s sense of revenge, stereotypes that are totems of the male fantasy, and dehumanizing sexual objectification that enables appreciation of the dead bodies of women.
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Dalmer, Nathalia, and Åsberg Lisa Strålin. "“All a bad b*tch need is money” -en kritisk analys av ambivalensen mellan feminism och kapitalism i musikvideor." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-80986.
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This article argues for the ambivalence between the use of feminist discourses in commercial purposes as the music industry and popular culture is driven by capitalist logic. The issue is analyzed with a multimodal discourse analysis. By studying the visual and lexical resources in Cardi B’s music video to single “Money” we find that whilst the video from a feminist perspective can be viewed as sex positive and empowering, it simultaneously satisfies the male-gaze and reproduces the objectification and sexualisation of women. As the music industry is thrives from a commercial basis, it is capitalism that benefits from its profits.
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Reid, David. "'Just looking' : gazing at the male gaze; the representation of women in the films of Michelangelo Antonioni and Rainer Werner Fassbinder, and in the photography of Jeff Wall and Thomas Struth." Thesis, University of Derby, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322598.
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Bassino, Riglos Franca. "Tratamiento gráfico de la sexualidad de villanas y antiheroínas de los cómics en la época del movimiento #MeToo." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653053.
Full textAbstract:
El siguiente trabajo de investigación tiene como objetivo analizar el tratamiento de la sexualidad de las villanas y antiheroínas en los cómics de DC, Marvel e Image Comics, entre los años 2017 y 2020. En consecuencia, la hipótesis sostiene que el movimiento #MeToo, viralizado en el 2017, ha generado un cambio en la representación gráfica de las mujeres en los cómics de superhéroes. Por comprobarla, se ha realizado un análisis de contenido de veinticuatro números en total, seleccionando un personaje por editorial: Poison Ivy, Emma Frost y Jessica Priest, respectivamente. Se tomaron en consideración herramientas del lenguaje visual y su valor dentro del contexto narrativo. Igualmente, se realizaron entrevistas a una ilustradora de cómics, así como una especialista en cómics y estudios de género. Los resultados evidencian que Marvel presenta un tratamiento adecuado de Emma Frost, mientras que DC exhibe un diseño de personaje inconsistente con respecto a Poison Ivy. Por otro lado, la representación de Jessica Priest, por parte de Image Comics, muestra mayor disonancia en cuanto a decisiones artísticas y valor narrativo. Asimismo, la única editorial en la que se observa la inclusión de artistas mujeres en relación a estos personajes es DC, aunque aún no logran la paridad. Es posible concluir que el tratamiento de las villanas y antiheroínas no ha cambiado significativamente desde la aparición del movimiento #MeToo. Esto se debe a que la mirada masculina continúa viéndose reflejada en la libertad artística de las casas independientes y a la falta de la perspectiva femenina.The following research aims to analyze the treatment of the sexuality of female villains and antiheroines in DC, Marvel and Image Comics between 2017 and 2020. Consequently, the study’s hypothesis holds that the #MeToo movement, that grew in popularity in 2017, has sparked a change in the graphic representation of women in superhero comics. Thus, twenty-four issues were examined using a content analysis method, selecting a character per publisher: Poison Ivy, Emma Frost and Jessica Priest, respectively. Visual language tools and their value within the narrative were considered in the investigation. Similarly, interviews were conducted with a comic illustrator and a specialist in comics and gender studies. The results show that Marvel presents an adequate treatment of Emma Frost, while DC exhibits an inconsistent character design when it comes to Poison Ivy. On the other hand, Image Comics’ handling of Jessica Priest shows greater dissonance in terms of artistic decisions and their narrative value. Likewise, the only editorial in which the inclusion of female artists is observed is DC Comics, although they have yet to achieve equality in job opportunities. In conclusion, the treatment of female villains and antiheroines hasn’t changed significantly since #MeToo went viral. This is evidenced in the way the male gaze continues to be reflected in the artistic choices of independent houses and also, in the lack of a female perspective in the superhero genre.
Trabajo de investigación
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Riegle, Allison E. "Rieglematica: Re-Imagining the Photobooth Through Female Performativity and Self-Portraiture." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/328.
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This paper explores the historical significance and advancements of automatic photobooth portraiture from the late 1800s onwards, focusing specifically on the intention behind the photobooth’s creation and the significance and cultural implications of its introduction into society. As it gradually became a staple of modern society, regularly visited by citizens to have their portraits taken, numerous artists sought out the photobooth as both a studio and a stage in which to document performative self-portraiture. The space and aesthetics of the photobooth have inspired artists to re-envision the confines of the booth and use its automatic function as a point of inspiration. I will also highlight the significance of female self-portraiture and the significance of women performing within and occupying specific spaces. My work is a combination of these histories, providing me with the opportunity to continue the discussion of women’s self-representation and the unique artistic space the photobooth provides between public and private spheres.