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.

Nymphomaniac represents yet another complex art-movie by director Lars von Trier. The reception amongst film critics is seemingly incoherent about whether the film reproduces misogynist values or if the film could be perceived as feminist.  This thesis aims to explore how Laura Mulvey’s theory of the male gaze still applies and provides tools for examination together with the intersectional approach, to decode and identify patriarchal conventions. As whiteness is inextricably linked to patriarchal structure it is discussed throughout this thesis and in a separate chapter. Hence this thesis suggests an intersectional feminist critical analysis to be the most adequate method to examine this movie and to fully comprehend how different elements of power coexist to suppress women and racialized people within the context of Nymphomaniac.  This thesis concludes that von Trier does not only embrace the male gaze, he also occasionally rejects it.

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.

This dissertation deals with various gender aspects of playing computer games. It describes how gender stereotypes are connected with the level of production, content, and with the players themselves. In this sense, it shows that games are still created mainly by homogeneous male teams, in order to attract male players, they contain mainly male characters, while the female ones are created to be attractive to these ideal male players. However, the primary goal of this dissertation is to describe the different ways and intensities of the relationship with the avatar, the playable character in the game. The analytical part consists of two illustrative case studies, one concerning female heterosexual players, the other male heterosexual players. The basic premise is the fact that the player "plays gender" - that is, performs it similarly to social reality. However, this performance is not just a reconstruction and confirmation of hypothetically stable gender identities, but on the contrary their deconstruction ("playing with gender"). In this sense, the work pays particular attention to situations where the player and the avatar have different genders and the heterosexual player, therefore, identifies with the avatar but also objectifies him/her. This dissertation aims to emphasize the uniqueness of...

Denna uppsats handlar om den samtida konstnären Oh de Laval och utforskar med en semiotiskt förankrad analysmetod appropriering i två olika konstverk och samhörigheten mellan dem. Verken som analyseras i studien är Oh de Lavals, Luncheon on the grass, 2019 och Édouard Manet, Le Déjeuner sur l'herbe, 1863 och stöds av Pablo Picasso, Le Déjeuner sur l'herbe, 1959-1962. Studiens övergripande syfte undersöker hur appropriering av konst förekommer i de olika verken som analyseras samt en juridisk synvinkel kring ämnet. Studien stöds av teoretiska ramverk som inkluderar postkoloniala och feministiska perspektiv som öppnar upp frågor om ras, jämställdhet, kulturell appropriering och kvinnors representation i konsten.

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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

Bilge Olgac, one of the first female directors of Turkey, who shot her first film in 1965, shaped her films according to the developments in Turkey. This thesis investigates how Olgac was affected by the events that took place in Turkey from the 1960s to the 1980s and how she reflected this impact on the representations of men and women in her films. The study seeks answers to the following questions;  *How has political, economic, and social changes in Turkey, influenced Bilge Olgac and her films from the end of the 1960s and beginning of the 1970s to the 1980s? *How are men and women and their relationship represented and how is the gaze indicated in the films? These research questions are tried to be answered by analyzing Olgac’s films Lawless Land (1967), Dark Day (1971), Gulusan (1985) and Ipekce (1987). While analyzing women and femininity and men and masculinity in these films, Laura Mulvey’s Male Gaze theory is used. Findings suggest that between 1965-1975, Olgac tried to keep up with the male-dominated cinema industry on the one hand and tried to impose herself in the industry on the other and directed melodramas in which women were represented as weak and passive and men were represented as strong and active. Olgac, who took a break from cinema in 1975, focused on female protagonists by presenting a different perspective to the audience in the 1980s. However, detailed analyses of the films also reveal that she could not get rid of the dominant ideology and the female characters in her films could not escape from traditional roles. In other words, Olgac’s films reflect patriarchy, similar to the Hollywood films Mulvey has examined.

This thesis offers a feminist perspective on the character development on Daenerys Targaryen in the TV-series Game of Thrones and Rhaenyra Targaryen in House of the Dragon. It mobilizes Laura Mulvey’s notion of the male gaze, which addresses the objectification of female character in classical Hollywood film, as well as Clarie Johnston’s critical take on the cinematic ideological construction of the image of woman. Another source of inspiration is the so-called Bechdel test, which was initially suggested by graphic novelist Alison Bechdel, but the widely adapted by feminist cinephiles as a useful tool to study the representation of woman in film. Examining the character development of Daenerys and Rhaenyra Targaryen in Game of Thrones and House of the Dragon on their journey towards claiming the Iron Throne, this thesis examines three episodes of Game of Thrones and two episodes of House of the Dragon.  The analysis shows that the male gaze is still present in the control, coercion and disciplining of the series’ female characters. Claire Johnston’s theorizations about the objectification of the female characters are echoed in the representation of two female characters’ struggle to lead a country as a woman. Moreover, not each of the series’ episodes would pass the Bechdel test.

This study examines the portrayal of the woman as monstrous in Daphne du Maurier’s short stories “The Apple Tree” and “The Blue Lenses” and investigates the abject emotions that female bodies induce within the main characters. The study also contrasts the habitual, objectifying gaze of the male focalizer with the reluctant gaze forced upon the female focalizer through a pair of lenses, argued here to represent the patriarchal suppression of woman, as the male gaze is key for mediating the abject in du Maurier’s stories. Additionally, the association of the natural world with the female body is discussed, as the subjugation of nature and women are closely connected in a patriarchal society, and these are both regarded as abject in du Maurier’s stories. It is concluded that gender is elemental to whether the main characters embrace or reject the abject feelings originating within themselves.