Dissertations / Theses on the topic 'Connotation of feminist films'
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Su, Donghui. "两代中国女性导演视角下的女性电影中女性意识之比较研究 : —以《人鬼情》和《送我上青云》为例." Thesis, Högskolan Dalarna, Institutionen för språk, litteratur och lärande, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-37596.
Full text作为西方女性主义运动的产物,女性主义电影成为了展现女性主义内涵和反映女性意识的重要工具。随着社会的进步和女性意识的觉醒,女性主义电影理论、批评与实践在以男性话语权为主导电影体系中渐渐占据了一席之地,并不断尝试在大荧幕上为女性发声。中国改革开放后,西方女性主义思潮进一步影响中国。八十年代中国的女性电影人在西方女性主义电影理论与实践的影响下,也开始尝试通过电影来表达中国女性的处境和诉求。在经历改革开放四十多年的剧变后,当下的中国社会各个层面都发生重大变革。中国的女性主义以及女性主义电影也顺应时代的潮流而改变。下一代的女性主义电影人站在前辈们的肩膀上,为女性主义的表达融入了新时代的精神。 本文从上世纪八十年代和近十年的中国影坛选取两部具有代表性的女性主义电影——《人鬼情》和《送我上青云》,并通过对两部电影在主题内容、叙事方式和镜头语言上的分析,发现两部电影在呈现女性意识的三个不同方面——主体性意识、女性欲望和性别差异上的表达呈现出不同的侧重点。由此,从而以小见大,从局部来窥见两个时代的女性主义电影所反映的女性主义的时代性内涵。
Myrup, Emilia, and Mikaela Hargell. "Genusanalysmetoder i film : En jämförelsestudie av Actor-Network Theory, Connotation Frames och Bechdeltestet." Thesis, Högskolan Dalarna, Bildproduktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-29296.
Full textChan, Lai Man Amelia. "Nicole Kidman :gender equality and feminist ideology in films." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953456.
Full textDanino, Regina. "Experimental film : Catholic and feminist readings of my films (2010-2016)." Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/q32q8/experimental-film-catholic-and-feminist-readings-of-my-films-2010-2016.
Full textNyh, Johan. "From Snow White to Frozen : An evaluation of popular gender representation indicators applied to Disney’s princess films." Thesis, Karlstads universitet, Institutionen för geografi, medier och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36877.
Full textBetyg VG (skala IG-VG)
Hamilton, Jayne. "Gender representation and textual strategies in the films of Pilar Miro." Thesis, University of Newcastle Upon Tyne, 1997. http://hdl.handle.net/10443/286.
Full textKatona, Leah Andrea. "The Use of Violence as Feminist Rhetoric: Third-Wave Feminism in Tarantino's Kill Bill Films." CSUSB ScholarWorks, 2008. https://scholarworks.lib.csusb.edu/etd-project/2759.
Full textGeloğullari, Gülin. "Female Friendship Films: A Post-Feminist Examination of Representations of Women in the Fashion Industry." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc848090/.
Full textAnticoli, Rahel. "Cultural Adaptation of Cancer Campaign Films : A comparison made between beauty commercials; United States ofAmerica and India." Thesis, Högskolan Dalarna, Bildproduktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27472.
Full textKramer, Heidi Tilney. "Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4525.
Full textSun, Xueling. "Wandering Women in Cinema, from Julie to Star: Female Subjectivity and Female Spectatorship in Feminine Road Films." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1545.
Full textSinner, Megan. "FEMINISM IN THE FILMS OF NEW GERMAN COMEDY." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1146072869.
Full textBudirska, Alzbeta. ""This Is a Forced Feminist Agenda" : IMDb users and their understanding of feminism negotiated in the reviews of superheroine films." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-104302.
Full textReid, David. "'Just looking' : gazing at the male gaze; the representation of women in the films of Michelangelo Antonioni and Rainer Werner Fassbinder, and in the photography of Jeff Wall and Thomas Struth." Thesis, University of Derby, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322598.
Full textCherry, Brigid S. G. "The female horror film audience : viewing pleasures and fan practices." Thesis, University of Stirling, 1999. http://hdl.handle.net/1893/2268.
Full textRubaba, Protas Pius. "The influence of feminist communication in creating social transformation : an analysis of the films Moolaadé (Ousmane Sembène) and Water (Deepa Mehta)." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/888.
Full textGoulden, Jan. "The western, the buddy movie and noir : lesbian re-readings of the American action movie." n.p, 1999. http://library7.open.ac.uk/abstracts/page.php?thesisid=13.
Full textSu, Xin. "Ideas of film authorship : a study of theories and concepts of agency and subjectivity in film authorship, with a conclusion on the possible configuration of a future theoretical model of feminist film authorship." HKBU Institutional Repository, 2010. https://repository.hkbu.edu.hk/etd_ra/1101.
Full textSantiago, Maillim. "Little women: study of female representations in teen films and how those representations have affected gender perceptions." Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/908.
Full textB.F.A.
Bachelors
Arts and Humanities
Film
Mancini, Tanna Alice. "When Bad Things Happen to Good Mothers: Rethinking Motherhood Through the Single Mother Image in American Films from the 1930s to the 1970s." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4142.
Full textSilas, Elizabeth J. "THEMES OF AWAKENING IN MAINSTREAM FILMS: FEMALE SUBJECTS AND THE LACANIAN SYMBOLIC." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1133495057.
Full textTitle from first page of PDF document. Document formatted into pages; contains [1], iv, 63 p. Includes bibliographical references (p. 58-63).
Edström, Josefine. "The Feminized People and the Patriarchal State: Studying the Portrayal of Gender in North Korean Films." Thesis, Uppsala universitet, Statsvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-338720.
Full textKapler, Desiree Dawn. "below the neck, above the knees." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4831.
Full textVan, Niekerk Tanya. "'N Feministiese analise van animasiekarakters vanuit 'n feministiese benadering." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-10122004-135247.
Full textWeber-Fève, Stacey A. "There's no place like home homemaking, making home, and femininity in contemporary women's filmmaking and the literature of the Métropol and the Maghreb /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148746370.
Full textSuner, Feride Asuman. "Male border crossing films: A feminist/postcolonial analysis." 1996. https://scholarworks.umass.edu/dissertations/AAI9639034.
Full textCollins, Felicity. "Ties that bind: the psyche of feminist filmmaking : Sydney, 1969-1989." 1995. http://hdl.handle.net/2100/974.
Full textThe purpose of my research for this thesis has been to investigate the psychic and emotional history of the milieu of independent, feminist filmmaking that began to form within the Women's Liberation Movement in Sydney in 1969. My interest in the psyche of the milieu has been twofold: to explore the possibility of writing an interior or subjective history, not of an individual but of a political milieu; and to grapple with the trajectory of the utopian, activist politics of the 1970s into the 1980s. I began my research by reading over five hundred funding applications from the files of the Women's Film Fund - an extensive archival record of the interaction between the funding femocracy and aspiring filmmakers. The building blocks of the thesis derived from interviews with founding members of the Sydney Women's Film Group (SWFG) and the Feminist Film Workers (FFW), and with former managers and Advisory Panel members of the Women's Film Fund. I consulted the SWFG and FFW records held (uncatalogued) by the National Film and Sound Archive, and I was given access to papers from the personal files of some of the filmmakers. I also viewed the body of films associated with the women's collections at the former Sydney Filmmakers Co-operative and the Women's Film Fund. From 1969-89 there were three major reconfigurations in the psyche of the milieu. The 1960s liberationist ethos - characterised by energy, excitement and eros - was transformed into an ethic of duty, discipline and sacrifice in the late 1970s. In the 1980s, feminist activism reached a limit point which turned the milieu's attention to the psychic foundations of its own origins and to the question of what had been sacrificed in the formation of the feminist activist. This question haunts the films of the 1980s through the insistent figure of the maternal. The ties that bound this milieu to a luminous vision of the future had their origins in a deeply shadowed image of the immediate past. This psychic reality is a point of origin and return as the milieu continues to remake itself through the cinema, into the 1990s.
Ward, Jenifer Kay. "The films of Margarethe von Trotta and their reviews a feminist critical analysis /." 1992. http://books.google.com/books?id=UHpZAAAAMAAJ.
Full text"The gendered vampires in contemporary culture: a lesbian feminist reading." 1999. http://library.cuhk.edu.hk/record=b5889884.
Full textThesis (M.Phil.)--Chinese University of Hong Kong, 1999.
Includes bibliographical references (leaves 87-90).
Abstracts in English and Chinese.
Acknowledgements --- p.i
Table of Contents --- p.ii
Abstract --- p.iii
Introduction --- p.1
The Gendered Vampires in Contemporary Culture
Vampires and Contemporary Culture --- p.1
Woman/Lesbian as Vampire --- p.7
"Ortner and ""the Angel in the House""" --- p.9
"Mulvey, Postfeminist Media Critics and the Female Body" --- p.10
Butler and the Lesbian Phallus --- p.12
Feminism and Postfeminisms --- p.14
Chapter Chapter One --- The Woman Vampire: The Fallen Angel --- p.18
Woman and Nature --- p.18
The Angel and the Woman Vampire --- p.23
The Postmodern Dracula --- p.33
Conclusion --- p.39
Chapter Chapter Two --- The Girl Vampire: The Resistant Female Body --- p.40
The Male Gaze --- p.40
"""When the Woman Looks"" at a Woman" --- p.47
The Postmodern Female Body --- p.56
Conclusion --- p.58
Chapter Chapter Three --- The Lesbian Vampire: The Female Desire --- p.60
The Lacanian Phallus --- p.60
The Lesbian Phallus --- p.64
The Lesbian Vampire --- p.67
The Dark Kiss and Female Sexual Pleasures --- p.70
Conclusion --- p.78
Conclusion --- p.81
Towards an Autonomous Representation of Womanhood
Bibliography --- p.87
Davis, Stefanie Leigh. ""Seduced and Abandoned Over and Over and Over": A Feminist Semiotic Narrative Analysis of the Films of James Toback." Thesis, 2018. http://hdl.handle.net/1805/18387.
Full textIn this thesis, feminist semiotic narrative methodology is applied to James Toback’s films Love & Money, Exposed, Tyson, and Seduced and Abandoned, in order to illuminate his construction of womanhood and women’s sexuality. In each film, Toback served as writer, director, and producer, giving him total creative and business control. Due to this lack of outside oversight, these four specific films are most likely to directly reflect Toback’s perspective as a filmmaker. This study employs narrative-based semiotic criticism, expanding the work of Walter Fisher and Teresa de Lauretis, to identify how Toback’s creation of world, gaze, object/subject, and desire, construct womanhood and women’s sexuality. Toback’s creation of illusory worlds emphasizes that while superficial beauty qualifies a woman as a sexual commodity for men, sex will ultimately be women’s downfall.
Wentzel, Gareth Peter. "The archetypes of "bogeyman" and "final girl" within the slasher horror sub-genre: an enquiry into socio-cultural values." Thesis, 2017. https://hdl.handle.net/10539/23887.
Full textDrawing on Carol Clover’s theory of the male antagonist or "Bogeyman" and the female protagonist or "Final Girl" that define the American Slasher Horror sub-genre, I analyzed two original Slasher films, namely Halloween (Carpenter 1978) and A Nightmare on Elm Street (Craven 1984). I later outlined the evolution of these conventions within the Slasher sub-genre, using the remakes of both films respectively. I then endeavoured to explain the subversion of these conventions in France with the New French Extremity Movement, and analyse how these filmmakers successfully transposed a typical American subgenre to France. Finally, using New French Extremity, I attempted to subvert and transpose these conventions to South Africa by writing, producing and directing a short Slasher film titled The Teddy Bear Man.
MT2018
Motsaathebe, Thatayaone Gilbert. "Presence as absence: A black feminist analysis of the depiction of black woman in three post-apartheid South African films (2004-2008)." Thesis, 2014.
Find full textFulfs, Patricia Ann. "The horror of feminism : understanding the second wave through the reception of controversial films." 2010. http://hdl.handle.net/2152/8999.
Full texttext
Mackie, Ardiss Emilie. "Popular film and English as a second language : toward a critical feminist pedagogy of identity and desire." Thesis, 2005. http://hdl.handle.net/2429/17015.
Full textEducation, Faculty of
Language and Literacy Education (LLED), Department of
Graduate
"「我(不)是電影作者」: 論許鞍華的女性電影作者倫理主體." 2012. http://library.cuhk.edu.hk/record=b5549385.
Full text本論文借用晚期傅柯的倫理主體概念和生存美學作為思考工具,嘗試走出傳統電影作者論和女性電影作者論對主體乃座落於電影作品或觀影者中的的觀點, 運用新主體工具帶動思考的轉向, 在建立女性電影作品中,對女性主體規範、性道德及國族身份的真理遊戲予以問題化,進行反思、批判挑戰以至顛覆自我技術 (technologes of the self )力圖塑造出一個歷史的、在地流動和停存活於構成狀態中倫理主體。在這個脈絡下,許鞍華電影作品中的延續性和差異,成為了她這倫理電影作者當下的、在地歷史和文化結構中, 於電影實踐這場域所進行修工夫,在宏大的權力和知識網絡中,轉化自我與我的主體關係,邁向傅柯式的自我實踐生存美學。
Being one of the most renowned and established film directors in Hong Kong, film critics and researchers often show ambivalence in recognizing Ann Hui as an Auteur, which is usually based on the lack a consistent body of themes, techniques and genres observed in Ann Hui’s work. To further complicate the recognition of Ann Hui as an Auteur, more specifically a female auteur, are the tensions between anti-essentialism and naïve humanism on one hand, and the advent of postmodernism’s critique against the Subject on the other. This study sets out to address the marginalization of Ann Hui as a female director in both the film industry and film studies, and seeks to provide theoretical tools for the constitution of agency of a female auteur from the perspective of the Foucauldian thoughts on ethical subjectivity and aesthetics of existence.
With a view of achieving a historical rather than ahistorical, a multiple rather than unified, and both as a constituted as well as constituting subject in light of Foucault’s ethical subjectivity, this study challenges the beliefs held by contemporary Auteur theory and feminist auteur theories that film authorship is only located within the repertoire of a film director as signature, or as the reading strategy of the audience. By drawing on the idea of ascesis (askēsis) - a work on oneself which aims at intensifying and transforming one’s relation to oneself - discussions are highlighted in how Ann Hui makes use of film productions as self-practices to reconstitute her own relation with film authorship. This study argues that Ann Hui problematizes the game of truth (jeux de verité) of the hegemonic Auteur that she has been subjugated to, and actively makes herself the subject of an alternative female authorship, with an emphasis on her own personal visions. Through analyzing how this evasive stance further drives Ann Hui's problematization in rethinking, criticizing, challenging or even subverting other games of truth, especially in her ongoing interrogations of the female subject, sexual subject and national identity through the technologies of the self, this study establishes the ways Ann Hui seeks to progress towards the “art of existence by transforming her relations with these rules of conduct, and making her life as a work of art that carries specific aesthetic values and meets distinctive stylistic criteria.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
林婉雯.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 358-385).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
Lin Wanwen.
Chapter 第一章 --- 緒論
Chapter 第一節 --- 研究動機:為什麼在乎女性電影作者?為什麼是許鞍華 --- p.1
Chapter 第二節 --- 研究背景:電影作者主體的問題化用及思考客體成形 --- p.11
Chapter 第三節 --- 研究方法及論文架構 --- p.36
Chapter 第二章 --- 晚期傅柯 「倫理主體 」的啟示
Chapter 第一節 --- 傅柯的主體觀:不是回歸,從來就是主體 --- p.47
Chapter 第二節 --- 主體和真理遊戲 :「知識」、 「治理 」和「主體化過程」 --- p.54
Chapter 第三節 --- 自我技術和自我關懷:主體與生存美學 --- p.63
Chapter 第四節 --- 小結 --- p.77
Chapter 第三章 --- 許鞍華的女性電影作者倫理主體(一):「我(不)是電影作者」 --- p.84
Chapter 第一節 --- 重拾遺落的碎片:電影作者論在香港構成條件 --- p.85
Chapter 第二節 --- 「電影作者 」的真理 遊戲 :許鞍華電影作者身份論述 --- p.118
Chapter 第三節 --- 集體創作中的自主創造: 《得閒炒飯》的實地觀察 --- p.140
Chapter 第四節 --- 小結 --- p.166
Chapter 第四章 --- 許鞍華的女性電影作者倫理主體(二):電影實踐作為自我技術的工夫場域 --- p.170
Chapter 第一節 --- 「我她是誰?」:女性主體的真理遊戲 --- p.175
Chapter 第二節 --- 馴服與抵抗:性道德規範的真理遊戲 --- p.250
Chapter 第三節 --- 何處是吾家:民族和家國的真理遊戲 --- p.281
Chapter 第四節 --- 小結 --- p.328
Chapter 第五章 --- 結論
Chapter 第一節 --- 「屈從」下的不服從:許鞍華女性作者倫理主體 --- p.335
Chapter 第二節 --- 研究特色與貢獻 --- p.340
Chapter 第三節 --- 前瞻:未完成的方案和可持續發展 --- p.349
附錄 --- p.351
參考文獻 --- p.358