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For my project I shall be writing a feature length screenplay in the horror genre. The screenplay will be entitled

This study investigated the cinematic representations of women in ‘Climates’ ‘Three Monkeys’ and ‘Once upon a time in Anatolia’ created by Nuri Bilge Ceylan. It explored the image of women and the ideologies that affects them in the aforementioned films. For the analysis, semiotics is used and feminist film theory is applied. The findings indicated that the women images are affected by patriarchal ideology. Female characters were portrayed as weak or weakened by men regardless of their representative social group. The results showed similarities to Mulvey’s argument and to Friedan’s definition of feminine mystique. Male gaze dominates the visual pleasures and the female characters showed similar features as described by Mulvey and Friedan.

<p>For a brief moment in feminist time, from 1968 to 1974, women's documentaries were influential in the emerging field of feminist film studies and for feminist activism. By the late sixties feminists had identified visual representation within popular culture, film, and the media as one of the central battlegrounds for women's activism. For feminist filmmakers, documentary, with its alleged superlative grip on truth and transparency, seemed to provide an ideal counterpoint to the perceived mis-representation of "real" women in dominant, narrative cinema. Within seventies feminist film theory, however, scholars elaborated a gender-specific take on the ideological critique of realism that disavowed women's documentary films as naïve, unsophisticated, and complicit with the ideologies of patriarchy and capitalism.</p> <p> In this project, I recast realism as an unruly and contradictory set of codes and conventions that generate oppositional and revolutionary political documentaries. In contrast to the dominant anti-realist reception of feminist documentaries in seventies feminist film theory then, I argue that these documentaries contain unacknowledged nuance and neglected visions of the political aspirations (however flawed) of second wave feminism. Key figures in feminist political theory, such as Nancy Fraser and Hannah Arendt, shed light on the political and subjective configurations brought forth in several feminist documentaries, including I Am Somebody (1969), Janie's Janie (1971), The Woman's Film (1971), and Joyce at 34 (1972), and Self-Health (1974), which depend rather on second wave aspirations of collectivity and agency, and the power of self-authorship and experience.</p> / Dissertation

In this project, I examine the relationship between female masochism, performance, and spectatorship in Michael Haneke’s film La Pianiste (2001). The film stages a relationship to sexuality that structures the subject’s excruciating negotiations with the other as always mediated by the law, the letter, or the body as instrument, which is allegorized by the protagonist’s occupation as a piano teacher. In my analysis, I identify the ways in which the film paradoxically offers a critique of mediation’s effect on the feminine position while encouraging viewers to confront the possibility that desire is only possible through these mediations. Contributing to feminist theory and psychoanalytic film theory, I foreground the way in which the film’s complex portrayal of female masochism produces indeterminacy via masochistic spectatorship. Ultimately, I argue that the unmarked position of feminine masochism, which is historically, psychoanalytically, and literarily reserved for male subjects, challenges the spectator to take enjoyment into account when approaching mediations of violence and sexuality.

Thesis advisor: Celeste Wells / This paper analyzes the rights and privileges Black Widow and Captain Marvel are afforded in their respective films coupled with audience perception to understand how that might inform the future of the action heroine genre. There is a stark contrast between the reception of Black Widow and Captain Marvel that is best understood through the release timing of the films along with the character’s plotline within the Marvel Cinematic Universe. Regardless, the rights and privileges each character is afforded in both films demonstrate a dimension of the female experience that had not been fully realized in the MCU prior to their release. Captain Marvel and Black Widow indicate a progression of female representation within the action heroine genre– both in frequency and quality. / Thesis (BA) — Boston College, 2022. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Departmental Honors. / Discipline: Communication.

El cine asiático, puede tomarse como un tipo de paradigma que se ha tratado de alejar del establecido por la casi monopólica industria del cine hollywoodense. Este cine se ha etiquetado eurocéntricamente como “cine periférico”, todo esto a causa de la simplificación a la que a veces se somete a estas cinematografías, desdibujando su rica diversidad. A veces un cine cargado de sensualidad cinematográfica pero no explícita necesariamente, sino más bien sutil. Desarrollan tramas no tan complejas, o en ocasiones si, pero que emplean un ritmo cinematográfico lánguido con elementos visuales y auditivos que atraen al público a comprometerse con el encuentro en la sala de cine. Expresando la figura de la mujer alejada de la idea falocentrista y del constructo estereotipado de: la buena (la virgen y la madre) y la mala (la prostituta y la femme fatal), la virtuosa (la acompañante fiel) y la viciosa (quien aparece como presa fácil de cualquier hombre). Todo lo que en occidente ha sido tratado desde la perspectiva del hombre, en su papel de guionista, director de cine, productor o crítico. / Asian cinema can be taken as a type of paradigm that has tried to move away from the one established by the almost monopolistic Hollywood film industry. This cinema has been labeled Eurocentrically as "peripheral cinema", because of the simplification that these cinematography’s are sometimes subjected to, deleting their rich diversity. Sometimes this type of cinema is loaded with cinematographic sensuality not necessarily explicit, but rather subtle. They develop plots that are not so complex, or sometimes they are, but totally inversed in a languid cinematographic rhythm that uses visuals and sounds elements that try to make the public committed with the experience of their movies. This cinema also, show us the figure of a woman far away from the phallocentric idea and the stereotypical construct of: the good woman (the virgin and the mother) and the bad woman (the prostitute and the femme fatal), the virtuous (the faithful partner) and the vicious (who appears as easy prey to any man). Everything that in the West has been telled from the perspective of man, in his role as screenwriter, film director, producer or critic. / 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.

Although teen film is littered with tales of young women coming of age, the messages presented in most of these films follow a formula centered on a patriarchal nuclear family ideal, which leads to damaging perceptions regarding gender roles in teenage society. There is the main traditional model of stay at home mother with a father in the role of the breadwinner; the rise of rape culture; and the glass ceiling in the workplace. The young females consuming a mass amount of this media then reflect negatively on themselves. The research following this conundrum was broken into two parts: the production of a film looking to remedy the many problems of female representation in teen media and then monitoring the reaction to said film against its target audience: young females between the ages of fifteen and twenty-one. The purpose of this thesis is to explore what makes females within the teenage demographic react to certain kinds of media. If they react negatively or positively towards a media representation of themselves, to what extent does this affect the participants' activity in their daily lives? Therefore, through a process of screening three short films focused on teen issues - including the one made by myself for this study - and then conducting a survey focusing on questions regarding the participants' feelings towards the subject matter, their hopes for themselves, and teen media in general, there was an ability to gauge how deeply teen media affects the modern teenager.