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The construct of masculinity and femininity in John Woo and Stanley Kwan's filmsLam, Suk-yin. January 1996 (has links)
Thesis (M.A.)--University of Hong Kong, 1996. / Includes bibliographical references (leaf [45-48]). Also available in print.
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Unpacking heat : women and guns in popular culture /Edwards, Marlo. O'Brien, Susie. January 1900 (has links)
Thesis (Ph.D.)--McMaster University, 2005. / Advisor: Susie O'Brien. Includes bibliographical references (p. 250-262). Also available via World Wide Web.
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Treacherous, deviant, and submissive female sexuality represented in the character Catwoman /Lecker, Michael. January 2007 (has links)
Thesis (M.A.)--Bowling Green State University, 2007. / Document formatted into pages; contains v, 144 p. Includes bibliographical references.
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The Use of Violence as Feminist Rhetoric: Third-Wave Feminism in Tarantino's Kill Bill FilmsKatona, Leah Andrea 01 January 2008 (has links)
For the purpose of this thesis, the main focus of the feminist rhetorical criticism method was specifically linked to gender-related power inequities. This method was especially appropriate for the analysis of how film violence is used as a feminist rhetorical strategy in the Kill Bill films. This thesis is more closely aligned with challenging rhetorical standards as it sought to identify feminist counter positions of rhetoric in film violence.
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Gender, modernity and the nation in Malaysian literature and film (1980s and 1990s)Khoo, Gaik Cheng 05 1900 (has links)
This dissertation examines the impact of modernity, in the form of modernization,
rapid industrialization and the introduction of Western ideas about nationalism and female
emancipation, on gender and gender relations in contemporary Malaysian film and
literature. Drawing upon theories ranging from Lacanian psychoanalysis, feminism,
postcolonialism, nationalism, existentialism to theories about fascism, I examine and
critique the representations of gender from the predominantly middle-class writers and the
works of the new wave Malay filmmakers. I make the case that these films and literary
works reflect the outcome of the National Economic Policy (1971-1990) and, in my
analyses, show that these modernizing imperatives, though received positively, are
sometimes greeted with a cautionary ambivalence, depending on one's class, gender,
ethnicity, and political and religious beliefs. Such ambivalence towards feminism, for
example, appears in K.S. Maniam's portrayal of independent female characters, whom I
call "fascist 'feminists'," or in the representations of hypermasculinity or male violence in
current Malay cinema.
Films and literature by some Malays reflect a desire to recover Malay custom, adat,
while forging a unique, modern, postcolonial identity that distinguishes itself from the
West, other former British colonies and other Muslim nations. However, this subversive
postcolonial move must be treated with caution to ensure that it does not replicate prevalent
negative stereotypes of women as sexualised beings. A key distinction in this dissertation is
that the representations of the modern Malay woman vary according to the gender of the
cultural producer: male writers and filmmakers portray the negative impact of modernity on
women, whereas their female counterparts portray women at ease with modernity.
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Investing in the domestic : the crisis of the modern city in late new wave cinemaBercov, Kimberly Dawn 11 1900 (has links)
Jean-Luc Godard's Two or Three Things I Know about Her/Deux ou trois
chases que je sais d'elle (1966) clearly equates the Her/elle in the title with both the
city of Paris and a young housewife living in a modern apartment on the
outskirts of the city. Godard has insisted that this 'elle' is only Paris and not
Juliette—the housewife whose daily activities the film documents. Yet the
movements of Juliette within the film are inseparable from the knowledge
imparted by the filming of the city's public and domestic spaces. Further, her
quotidian route through these sites must constantly negotiate an almost
excessive overabundance of consumer images. This film, and much of the work
of the so-called French New Wave, attempts to articulate the problems posed by
the 'Modern City' and the conditions of post-war capitalism. Weekend (1967) and
Fahrenheit 451 (1966) envision a city in which the status quo delineated by
consumer culture sets the pattern for all forms of urban life. Fahrenheit 451, a
dystopic science fiction film directed by Francois Truffaut, describes a world in
which the very structure of the home is conflated with technologies of mass
culture and consumerism. Technology enters the domestic sphere in this film as a
'screen interface' that 'spectacularly' produces gendered and sexualized modes
of identification almost exclusively for the suburban housewife.
This thesis explores the gendered spaces of the cinematic city, particularly
how architecture, technology, and consumerism are spatialized. In chapter one I
address how the spaces of consumerism and the domestic are conflated, leaving
it up to the suburban housewife to bear the burden. In chapter two I turn to the
formation of female desire as it is reconfigured in the exchanges between the
spaces of technology and the domestic. How are these intersecting spheres
represented as potential sites of communal transformation? How do they serve
to reveal the limits of transformation? The possibility for social change within
this cinematic space is ultimately relocated outside of the urban. All three films
offer a significant re-appraisal of the 'Modern City,' and in the process reveal its
profound links to women's bodies and female desire. I conclude with a
discussion of the failures of the post-war 'Modern City' which, in these films, is
rejected in favour of a move 'into nature,' a going 'back to zero,' as a possible site
for reimagining new patterns of social and sexual relations.
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Gender, modernity and the nation in Malaysian literature and film (1980s and 1990s)Khoo, Gaik Cheng 05 1900 (has links)
This dissertation examines the impact of modernity, in the form of modernization,
rapid industrialization and the introduction of Western ideas about nationalism and female
emancipation, on gender and gender relations in contemporary Malaysian film and
literature. Drawing upon theories ranging from Lacanian psychoanalysis, feminism,
postcolonialism, nationalism, existentialism to theories about fascism, I examine and
critique the representations of gender from the predominantly middle-class writers and the
works of the new wave Malay filmmakers. I make the case that these films and literary
works reflect the outcome of the National Economic Policy (1971-1990) and, in my
analyses, show that these modernizing imperatives, though received positively, are
sometimes greeted with a cautionary ambivalence, depending on one's class, gender,
ethnicity, and political and religious beliefs. Such ambivalence towards feminism, for
example, appears in K.S. Maniam's portrayal of independent female characters, whom I
call "fascist 'feminists'," or in the representations of hypermasculinity or male violence in
current Malay cinema.
Films and literature by some Malays reflect a desire to recover Malay custom, adat,
while forging a unique, modern, postcolonial identity that distinguishes itself from the
West, other former British colonies and other Muslim nations. However, this subversive
postcolonial move must be treated with caution to ensure that it does not replicate prevalent
negative stereotypes of women as sexualised beings. A key distinction in this dissertation is
that the representations of the modern Malay woman vary according to the gender of the
cultural producer: male writers and filmmakers portray the negative impact of modernity on
women, whereas their female counterparts portray women at ease with modernity. / Graduate and Postdoctoral Studies / Graduate
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Investing in the domestic : the crisis of the modern city in late new wave cinemaBercov, Kimberly Dawn 11 1900 (has links)
Jean-Luc Godard's Two or Three Things I Know about Her/Deux ou trois
chases que je sais d'elle (1966) clearly equates the Her/elle in the title with both the
city of Paris and a young housewife living in a modern apartment on the
outskirts of the city. Godard has insisted that this 'elle' is only Paris and not
Juliette—the housewife whose daily activities the film documents. Yet the
movements of Juliette within the film are inseparable from the knowledge
imparted by the filming of the city's public and domestic spaces. Further, her
quotidian route through these sites must constantly negotiate an almost
excessive overabundance of consumer images. This film, and much of the work
of the so-called French New Wave, attempts to articulate the problems posed by
the 'Modern City' and the conditions of post-war capitalism. Weekend (1967) and
Fahrenheit 451 (1966) envision a city in which the status quo delineated by
consumer culture sets the pattern for all forms of urban life. Fahrenheit 451, a
dystopic science fiction film directed by Francois Truffaut, describes a world in
which the very structure of the home is conflated with technologies of mass
culture and consumerism. Technology enters the domestic sphere in this film as a
'screen interface' that 'spectacularly' produces gendered and sexualized modes
of identification almost exclusively for the suburban housewife.
This thesis explores the gendered spaces of the cinematic city, particularly
how architecture, technology, and consumerism are spatialized. In chapter one I
address how the spaces of consumerism and the domestic are conflated, leaving
it up to the suburban housewife to bear the burden. In chapter two I turn to the
formation of female desire as it is reconfigured in the exchanges between the
spaces of technology and the domestic. How are these intersecting spheres
represented as potential sites of communal transformation? How do they serve
to reveal the limits of transformation? The possibility for social change within
this cinematic space is ultimately relocated outside of the urban. All three films
offer a significant re-appraisal of the 'Modern City,' and in the process reveal its
profound links to women's bodies and female desire. I conclude with a
discussion of the failures of the post-war 'Modern City' which, in these films, is
rejected in favour of a move 'into nature,' a going 'back to zero,' as a possible site
for reimagining new patterns of social and sexual relations. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate
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Dismemberment and dispossession in the work of Quentin Tarantino and Nathalie DjurbergTerblanche, Catherine 11 1900 (has links)
Text in English / This study aims to apply the biopolitical theories of Giorgio Agamben on homo sacer to the stereotypical representation of the violent woman. Using feminist methodologies for dismantling and exposing social stereotypes, this research explores the relationship between femininity, violence and the representation of these. By focussing on the influence of traditional narratives as found in ancient mythology and fairy tales, the study investigates the contemporary portrayal of the stereotypical violent woman using acts of dismemberment and dispossession in the work of Quentin Tarantino and Nathalie Djurberg, which serve as examples of the controversial relationship between real and filmic violence. / Art History, Visual Arts & Musicology / M.A. (Art History)
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Dismemberment and dispossession in the work of Quentin Tarantino and Nathalie DjurbergTerblanche, Catherine 11 1900 (has links)
Text in English / This study aims to apply the biopolitical theories of Giorgio Agamben on homo sacer to the stereotypical representation of the violent woman. Using feminist methodologies for dismantling and exposing social stereotypes, this research explores the relationship between femininity, violence and the representation of these. By focussing on the influence of traditional narratives as found in ancient mythology and fairy tales, the study investigates the contemporary portrayal of the stereotypical violent woman using acts of dismemberment and dispossession in the work of Quentin Tarantino and Nathalie Djurberg, which serve as examples of the controversial relationship between real and filmic violence. / Art History, Visual Arts and Musicology / M. A. (Art History)
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