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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

All about sexuality: gender studies in Pedro Almodovar's films

Lam, Sze-man, 林思敏 January 2004 (has links)
published_or_final_version / abstract / toc / Literary and Cultural Studies / Master / Master of Arts
2

Sexuality, identity and "The hours"

Chan, Chi-ho, 陳志豪 January 2004 (has links)
published_or_final_version / abstract / toc / Literary and Cultural Studies / Master / Master of Arts
3

Imaging a nation the sexual economies of the contemporary mainstream Bombay cinema (1970-2000).

Gabriel, Karen. January 1900 (has links)
Thesis (Ph. D.)-- Institute of Social Studies, The Hague, The Netherlands, 2005. / Includes bibliographical references.
4

Imaging a nation the sexual economies of the contemporary mainstream Bombay cinema (1970-2000).

Gabriel, Karen. January 1900 (has links)
Thesis (Ph. D.)-- Institute of Social Studies, The Hague, The Netherlands, 2005. / Includes bibliographical references.
5

Costuming gender : an investigation into the construction and perception of drag costume in mainstream film

Akal, Shari Tamar January 2015 (has links)
Submitted in fulfilment of the requirements of the Degree of the Master of Technology in Fashion, Durban University of Technology, Durban, South Africa, 2015. / The years succeeding 1990 have seen a significant increase in the release of mainstream film featuring transgendered characters. The inclusion of such characters in popular film becomes a point of interest as transgendered identities differ from the hegemonic heterosexism of the audiences at whom these films are targeted. This investigation aims to gain a better understanding of how audience members read gendered identity through the visual appearance of drag queen characters in mainstream film. Due to the emblematic contrast between the male body and a hyper-feminine dress aesthetic, drag queens pose an overt visual challenge to the normative expectation of anatomical sex determining gender and gendered expression. This investigation is conducted from the paradigmatic perspective that recognises the impossibility of a ‘correct’ reading of dress aesthetics and is thus concerned with discovering the various gendered meanings audience members may attach to drag costume in film. This interpretivist standpoint, however, is held in conjunction with the critical understanding that prevalent contemporary socio-political constructs with regard to gender and dress will undoubtedly affect these perceptions. Segments from selected Hollywood films featuring drag queen protagonists were screened for a heterogeneous focus group and the subsequent discussion analysed through critical discourse analysis. Academic discourse concerning the socially constructed gender dichotomy and the debated subversive potential of the drag act is reviewed in order to provide a theoretical framework for analysing the participants’ comprehension of gendered performance. Gendered associations with dress and the body together with film theory are examined to better understand how an audience may perceive gendered identity through drag costume in film and what affect this may have on their conception of sartorial gendered expressions in reality. Finally, to situate and provide further context for this investigation, Queer theory critiques of the representation and reception of transgendered characters in past mainstream films are considered. / M
6

Space, body and subjectivity : shifting conceptions of black African masculinities in four audio-visual texts.

Mngadi, Sikhumbuzo Richard. January 2010 (has links)
Research in constructions of masculinities in South Africa is already an established field, having in part developed out of the need to contextualise global theories in the social, economic and cultural realities of African subjects. In its turn, this research has engendered a number of focused studies which have sought to depart from the traditional ‘men’s studies’ paradigm. Needless to say, studies in constructions of masculinities have infused the traditional paradigm with a new vitality. This thesis proceeds from the premise that to be a man in (South) Africa and elsewhere is contingent upon a diversity of social, economic, political, generational and cultural expectations. I argue that these expectations, which are linked variously to status, sexual orientation and choice, mean that recognition of gender subjectivity as performed must take precedence over the idea of a stable gender role. And, at times, this applies with more force in African societies, traditional and modern (or, as is often the case, a confluence of both), than it does in western ones where class, rather than the complex intersection of tradition and modernity, tends to set gender identities on a more stable platform. I then propose the view that a nuanced conceptualisation of masculinities in South Africa needs to inform analysis of representations of men and women, and I do so by means of an in-depth critical analysis of the shifting conceptions of black African men and women in Shaka Zulu (1986), Mapantsula (1988), Fools (1998) and Yizo Yizo 1 (1999). / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2010.
7

A critical analysis of the portrayal of women in some selected Xhosa dramas

Mntanga, Overman Mziwakhe January 2008 (has links)
This thesis entitled “a critical analysis of the portrayal of women in some selected Xhosa dramas”, endeavours to examine the effect of gender inequality. Women who are iv submissive toward some cultural aspects. It endeavours to give a critical analysis of women’s self assertion in some selected Xhosa dramas. According to the findings in this study, in African tradition women like to enforce patriarchy upon younger women. Older women feel that they have the duty of passing on cultural practices from generation to generation. Everything from manner of dress, posture, appropriate seating positions, eating patterns, performance of household chores, sexual expression, and voice tone and infection, self-esteem and self-concept, flows from the gender one is assigned at birth. From birth then, women and men are set on different physically based psychological paths. Of all the obstacles that limit the advancement of women, those touching upon knowledge and values are the most difficult to remove. When a woman lacks the independent capacity to assert her own positive truths and values, she is unable to contribute her insights and experiences to the various fields of human knowledge. When denied opportunities for higher forms of self expression, women may out of frustration attack the modes of understanding upheld by men. In this study theories such as black criticism, psychoanalysis, feminism and African womanism are relevant for discussing the portrayal of women. The descriptive method of research has been applied. Both observation and participation have been used for exposing barriers that block the development of women. This study will enable literature students and researchers to view culture in a broader perspective. It will enable them to consider conventions which determine the way human experience is presented in literature. Chapter one provides literature students and the researchers with a broad overview about how to develop an introductory perspective. Chapter two aims at developing a theoretical framework which serves as the basis of this study. Chapter three examines the effect of gender inequality. It opens an area of extensive examination that differentiates sexual practice from the sexual roles assigned to women and men. Chapter four examines women who are submissive or radical in some cultural aspects. Chapter five discusses women’s self assertion. Chapter six concludes this study.
8

South Korean historical drama : gender, nation and the heritage industry

Hwang, Yun Mi January 2011 (has links)
From the dynamic landscape of contemporary South Korean cinema, one trend that stands out is the palpable revival of the historical drama (known as the ‘sageuk’ in Korean). Since the early 2000s, expensive, visually striking, and successful costumed pieces have been showcased to the audience. Now rivalling the other mainstream genres such as gangster action, romantic comedy, and the Korean blockbuster, the sageuk has made an indelible impact on the national film industry. Even so, the cycle has yet to receive much critical attention. This thesis addresses the gap, driven by the question, what is the impetus behind the surge of the ‘historical’ witnessed in recent sageuk films? For this, I first take a diachronic view of the historical context of the genre, which later serves as the reference point for the genre memory. Adopting a synchronic approach, I then examine the industrial, political, and social contexts in Korea at the turn of the new century that facilitated the history boom. While national memory and transnational politics fuelled Koreans’ interest in their past, the popular media – cinema, television, publishing industry, and performance theatre – all capitalised on this drive. The government also took part by supporting the ‘culture content industry’ as a way to fashion an attractive national image and accelerate the cultural export system. Collectively, these efforts translated to the emergence of history as a commodity, carving a unique space for historical narratives in the national heritage industry. As such, different agents – the consumers, the industry, and the state – had their stakes in the national mobilisation of history and memory with competing ideological and commercial interests. Ultimately, the sageuk is the primary site in which these diverging aspirations and desires are played out. In chapters that follow, I engage with four main sub-types of the recent historical drama, offering textual and contextual readings. The main discussion includes the ‘fusion’ sageuk (Untold Scandal), the biopic (King and the Clown and Portrait of a Beauty), the heritage horror (Blood Rain and Shadows in the Palace), and the colonial period drama (Rikidozan, Blue Swallow and Modern Boy). While analysing the generic tropes and narrative themes of each film, I also pay attention to contemporary discourses of gender, and the cultural treatment of masculinity and femininity within the period setting. Such investigation, in turn, locates the place of the historical genre in New Korean Cinema, and thus, offers a much-needed intervention into one of the neglected topics in the study of cinematic trends in South Korea.
9

Transgressive territories queer space in Indian fiction and film /

Choudhuri, Sucheta Mallick. Kopelson, Kevin, Kumar, Priya. January 2009 (has links)
Thesis advisors: Kevin Kopelson, Priya Kumar. Includes bibliographic references (p. 182-188).

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