" 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.

Cette étude littéraire examine la transgression sexuelle par l’adultère, dans l’ouvrage Des contes et nouvelles en vers écrit par La Fontaine entre 1665 et 1671, publié par Claude Barbin jusqu’en 1671. Ces contes érotiques décrivent à travers le caractère satirique de l’auteur, les relations extra-conjugales des deux sexes dans un ton grivois et moralisateur. La Fontaine s’est minutieusement inspiré des parties de la littérature du Décameron de Boccace et de l’Arioste en réécrivant ces contes. Après la dernière publication Des contes et nouvelles en vers l’oeuvre est saisie puis interdite en 1675 par La Reynie considérée comme trop provocatrice. L’oeuvre de La Fontaine s’oppose par son contenu aux convenances de l’époque. En cela le texte de l’auteur pourrait être considéré comme libertin. Les personnages représentent différents corps sociaux et font l’objet de railleries et de caricatures. Ici l’étude décrit par exemple comment les textes présentent des sujets scandaleux de manière cachée. L’opposition entre le rôle, le statut, la condition sociale et le souhait du désir de chaque personnage des contes se présentent dans les personnages aussi bien masculins que féminins. Notre analyse explore la représentation des personnages féminins et leurs relations à l’adultère à travers les regards des personnages masculins et celui de l’auteur. L’étude prend appuie sur des recherches historiques et prend en compte le système hiérarchique des personnages et la condition sociale de la femme dans le rôle d’épouse. Le style satirique de La Fontaine se caractérise par la volonté de critiquer les moeurs sociales d’une période spécifique de l’histoire, celle du XVIIe siècle. L’analyse étudie deux aspects celle de la transgression sexuelle de la femme et celui du regard d’objectification porté sur elle. L’étude examine si cette transgression peut être mise en corrélation avec un débat sociétal sur la définition du mariage de l’époque. / This literary study examines sexual transgression through adultery, in the work Des contes et nouvelles en vers written by La Fontaine between 1665 and 1671, published by Claude Barbin until 1671. These erotic tales describe through the satirical character of the author, the extra-marital relations of both sexes in a grizzly and moralizing tone. La Fontaine was meticulously inspired by the parts of the literature of Boccaccio's Decameron and Ariosta in rewriting these tales. After the last publication Of Tales and News in Verse the work is seized and then banned in 1675 by La Reynie considered too provocative. The work of La Fontaine is opposed by its content to the conveniences of the time. In this the author's text could be considered libertine. The characters represent different social bodies and are the subject of taunts and caricatures. Here the study describes, for example, how the texts present scandalous subjects in a hidden way. The opposition between the role, the status, the social condition and the desire of the desire of each character of the tales are presented in the characters both male and female. Our analysis explores the representation of female characters and their relationship to adultery through the eyes of male characters and that of the author. The study is based on historical research and takes into account the hierarchical system of the characters and the social status of the woman in the role of wife. The satirical style of La Fontaine is characterized by the desire to criticize the social mores of a specific period of history, that of the seventeenth century. The analysis studies two aspects: that of the sexual transgression of the woman and that of the objectification look on her. The study examines whether this transgression can be correlated with a societal debate over the definition of marriage at the time.

The aim for this essay is, along with the four included case studies, is to examine the social media platform, Instagram's strict guidelines when it comes to showing nudity.  On the platform there is a certain double standard, artists as well as art institutions are censored, that is, they get pictures removed or their accounts blocked when they try to show works that have nudity depicted, but at the same time nudity exists on the platform, this essay wants to highlight the double standard by setting the example that images from accounts of celebrities, which show as much nudity as a work of art, if not more, are allowed to be available on the social platform. This essay then also wants to emphasize that why it is this way is because fundamentally it is a social problem, it is the structures and norms that exist around us that are the contributing factors. How we see the ideal body and beauty and how the male gaze is the gaze that is precisely the dominant gaze. Another factor that this essay will analyse is the difference between art and pornography, and how it affects censorship among a number of artists. With the support of interviews and the theoretical frameworks, this essay will examine Instagram as a modern place to display art, while the platform is mostly double standards and bias. In addition, this essay will highlight that in the game of nudity celebrities have different and easier rules of the game, compared to artists, they are instead dealt with the strict rules of the game. / Målet med denna uppsats är tillsammans med de fyra inkluderade fall studierna, undersöka den sociala media plattformen, Instagrams strikta riktlinjer när det kommer till att visa nakenhet. På plattformen förekommer det en viss dubbelmoral, konstnärer samt konstinstitutioner blir censurerade, det vill säga, de får bilder borttagna eller deras konton blockerade när de försöker visa verk som har nakenhet avbildat, men samtidigt existerar det nakenhet på plattformen, denna uppsats vill framhäva den dubbelmoral genom att ge exempel på att bilder från kända personers konton, som visar lika mycket nakenhet som ett konstverk, om inte mer, får vara tillgängligt på den sociala plattformen. Denna uppsats vill då även framhäva att varför det är på detta sätt är för i grunden är det ett samhällsproblem, det är strukturer och normer som existerar runt omkring oss som är de bidragande faktorerna. Hur vi ser den ideala kroppen samt skönhet och hur den manliga blicken är den blicken som är just den dominanta blicken. En annan faktor som denna uppsats kommer analysera är skillnaden på konst och pornografi, och hur det påverkar censuren bland ett antal konstnärer.  Med stöd av intervjuer och de teoretiska ramverken kommer denna uppsats undersöka Instagram som en modern plats för att visa konst, samtidigt som plattformen är till mesta del dubbelmoralisk och bias. Dessutom kommer denna uppsats att framhäva att i spelet om nakenhet har kända personer andra och enklare spelregler, jämfört med konstnärer, de blir i stället utdelade de stränga spelreglerna.

The overall dominance of white, cisgender, straight malecentered media remains largely unchanged and it is still considered the ”default” or ”universal” perspective. As a result, filmmaking is often limited to representing only a narrow view of humanity. Female representation both in front and behind the camera has been significantly impacted by this dominant perspective. A feminist approach to cinema practices is therefore crucial to challenge and reconstruct the cinematic system, allowing for more diverse and inclusive perspectives to emerge. Cinema is a powerful mass media industry that shapes its audience’s sensibilities, thoughts, emotions, perceptions, and reactions, while broadening the possibilities of human experiences through the screen. The producer plays a crucial role in overseeing the entire filmmaking process and striving to achieve the best possible outcome for the film. Given the significant impact that cinema has on society and the influential position of the producer in the filmmaking process, this study seeks to encourage film and TV producers, regardless of gender, to represent women with equal rights and opportunities. By embracing the female gaze, filmmakers can create more inclusive, diverse, and equitable films for all. This research asks: Have I, a female producer from Latin America, internalized the dominant white, cisgender, heterosexual, and male perspective? In what ways does this perspective manifest in my own role as a producer? And how can we producers creatively and practically challenge this perspective?

La investigación presente analiza la caracterización de la protagonista de la novela Travesuras de la niña mala de Mario Vargas Llosa (2006) a través de una crítica falocéntrica para determinar si es una obra feminista o no. Particularmente, el objetivo del trabajo es analizar la descripción del personaje principal en relación con el feminismo y la feminidad, teniendo en cuenta desde cuál punto de vista la presentación está realizado. Las preguntas de investigación son: ¿Podría clasificar Travesuras de la niña mala como una obra feminista? ¿Cómo está descrito el personaje de Otilia en relación con lo femenino? ¿Es un personaje femenino, feminista, ambas al mismo tiempo? El análisis se sostiene en teorías sobre el feminismo (Toril Moi 1989), la crítica falocéntrica (Kate Millet 1969), y en los conceptos de lo femenino, la femme fatale y la mirada masculina (Laura Mulvey 1989). La investigación se realiza con un método hermenéutico donde la lectura del corpus se enfoca en las estructuras de poder de género presentes. Los hallazgos del análisis son que existe tanto una cosificación como una feminización del personaje. La caracterización incluye características apeladas a lo masculino, pero, las cuales están excusadas por el pasado del personaje. Además, el análisis deduce que el personaje está descrito como dependiente de un hombre tanto materialmente como emocionalmente. Consecuentemente, la conclusión de la investigación es que la obra no puede decirse ser una obra feminista. / The present investigation analyses the characterization of the protagonist of the novel Travesuras de la niña mala by Mario Vargas Llosa (2006) through a phallocentric critique to determine if it is a feminist work or not. Particularly, the objective of the work is to analyse the description of the main character in relation to feminism and femininity, considering from which point of view the presentation is made. The research questions are: Could you classify Travesuras de la niña mala as a feminist work? How is Otilia's character described in relation to femininity? Is she a female character, feminist, both at the same time? The analysis is based on theories on feminism (Toril Moi 1989), phallocentric criticism (Kate Millet 1969), and on the concepts of femininity, the femme fatale and the male gaze (Laura Mulvey 1989). The research is carried out with a hermeneutic method where the reading of the corpus focuses on the present gender power structures. The findings of the analysis are that there is both an objectification and a feminization of the character. The characterization includes characteristics appealing to the masculine, but which are excused by the character's past. In addition, the analysis deduces that the character is described as dependent on a man both materially and emotionally. Consequently, the conclusion of the investigation is that the work cannot be said to be a feminist work.

This paper uses a quantitative and qualitative approach to analyze whether the Swedishfitness clothing brand I Can I Will’s representation in their online shop corresponds with theirspoken concept of being a brand for everyone who works out regardless if you are training togain strength, change your looks or just because you enjoy it. The quantitative analysisinvestigates the models length compared to height statistics around the world, and theirclothing size relative to social norms about the ideal body. The qualitative analysis is basedon examining visual signs such as eye contact, body language, posture and fitting of clothing.These components are analyzed through a body positivity and gender perspective, usingtheories about representation, body positivism, the ideal body, gender roles, male gaze,advertising and commodities.Findings suggest that there is a lack of representation of different bodies in I Can I Will’sonline shop. The male models are exclusively tall and muscular and the female models aremostly thin or slim. The few times female representation of a larger size occurred, the modelsstill had the, according to society, ideal body. In the visual analysis, there was nothing thatcould be perceived as norm breaking as all of them are following the social structured genderroles. To summarize, the clothing companies representation does not correspond with itsspoken concept of addressing everybody who wants to train regardless of their looks, it seemslike they only like to address tall and already well-trained men and mostly slim women with abody shape where breasts and hips are wider than their waist.

As entertainment reflects a culture's ideology, it is important for researchers to study its messages and subsequently its potential meanings. Entertainment has the power to inform and persuade, creating models for behavior with which the public interacts. The entertainment texts for the purpose of this study are the Castle television series and the Nikki Heat novels. Together, they create a unique multi-layer fictional world. By using postmodern, feminist, communication, and entertainment theories, the results of this study provide a tightly focused lens which views a narrow aspect of entertainment media. Each text was thoroughly examined using textual analysis, Feminist Poststructuralist Discourse Analysis, and conversation analysis. Contrary to expectations, the results indicated that the Castle and Nikki Heat texts support hegemonic ideology, particularly through the use of exaggerated stereotypes, strict gender roles, imagery, and narrative choices that help perpetuate rape culture. The discussion outlines how these results can be interpreted through the dominant messages presented in the texts. This research is intended to serve as a foundation for future research regarding entertainment media.

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Mémoire en recherche-création. / Ce mémoire de recherche-création pose la question de la possibilité d’écrire un scénario de film de fiction narratif féministe. Une position vastement débattue dans la littérature féministe sur le cinéma suggère que le cinéma classique dit mainstream ne peut être investi d’une posture féministe puisque le langage cinématographique qui lui est inhérent participe à l’idéologie patriarcale dominante et réifie les personnages féminins comme objet passif du désir du masculin, figure active dans la narration. Mais qu’en est-il du scénario? La réflexion qui anime ce mémoire interroge le développement du scénario dans le discours et la figure négligée par l’histoire du cinéma (Francke 1994, 3) de la scénariste, puis les fondements de la narration et leur participation à l’idéologie dominante. Finalement, cette réflexion est accompagnée d’un scénario de film de fiction de long-métrage narratif dans lequel une tentative d’inscrire une subjectivité féminine se tisse grâce à une notion de désidentification qui s’avère intrinsèque à certains outils de l’objet de préproduction. La recherche informe la création alors que la création dépasse son cadre formel pour s’immiscer et tenter de régner dans la recherche. / This research-creation thesis asks the question of the possibility of writing a feminist narrative fiction film script. A widely debated position in feminist film literature suggests that mainstream cinema cannot be invested with a feminist posture since its inherent cinematic language participates in the dominant patriarchal ideology and reifies female characters as passive objects of desire of the male, active figure in the narrative. But what about the screenplay? The reflection that drives this thesis questions the development of the screenplay in discourse and cinema’s history neglected figure (Francke 1994, 3) of the woman screenwriter, followed by the foundations of narrativity and their participation in the dominant ideology. Finally, this reflection is accompanied by a narrative feature film script in which an attempt to inscribe a female subjectivity is woven through a notion of disidentification that proves intrinsic to certain tools of the pre-production object. The research informs the creation while the creation exceeds its formal framework to interfere and try to reign over the research.