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Journal articles on the topic 'Feminist film criticism'
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1
Freeland, Cynthia, and Patricia Erens. "Issues in Feminist Film Criticism." Journal of Aesthetics and Art Criticism 50, no. 4 (1992): 347. http://dx.doi.org/10.2307/431419.
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Banks, Anna. "Issues in Feminist Film Criticism." American Journalism 9, no. 1-2 (January 1992): 135–36. http://dx.doi.org/10.1080/08821127.1992.10731443.
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Mayne, Judith. "Feminist Film Theory and Criticism." Signs: Journal of Women in Culture and Society 11, no. 1 (October 1985): 81–100. http://dx.doi.org/10.1086/494201.
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Lorraine, Renee Cox, Diane Carson, Linda Dittmar, and Janice R. Welsch. "Multiple Voices in Feminist Film Criticism." Journal of Aesthetics and Art Criticism 53, no. 3 (1995): 328. http://dx.doi.org/10.2307/431364.
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Shrage, Laurie. "Feminist Film Aesthetics: A Contextual Approach." Hypatia 5, no. 2 (1990): 137–48. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00422.x.
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This paper considers some problems with text-centered psychoanalytic and semiotic approaches to film that have dominated feminist film criticism, and develops an alternative contextual approach. I claim that a contextual approach should explore the interaction of film texts with viewers' culturally formed sensibilities and should attempt to render visible the plurality of meaning in art. I argue that the latter approach will allow us to see the virtues of some classical Hollywood films that the former approach has overlooked, and I demonstrate this thesis with an analysis of the film Christopher Strong.,
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Barrett, Ciara. "The feminist cinema of Joanna Hogg." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 129–44. http://dx.doi.org/10.33178/alpha.10.08.
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In this article, I provide a scholarly introduction to the cinema of contemporary British director Joanna Hogg that stands in direct contravention to existing auteurist and concomitantly phallogocentric critical discourses on her work. Thus I establish an alternative, feminist theoretical framework for analysis of Hogg’s films, synthesising feminist and structuralist methodologies. Via close textual analysis of each of Hogg’s three feature films, emphasising their implicit critique of phallogocentric narrativisation vis-à-vis the deployment of certain “melodramatic” conventions, I argue that the director creates a filmic space both literal and conceptual for “the female”. Significantly, this contravenes the inherently phallogocentric theoretical framework by which auteurist film criticism has (up until now) largely attempted to “package” Hogg’s work. I thus conclude the cinema of Joanna Hogg represents a subversive challenge to phallogocentric metanarrative, within which auteurist film criticism has traditionally been imbricated.
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Radkiewicz, Małgorzata. "Sexuality, Feminism and Polish Cinema in Maria Kornatowska’s "Eros i film"." Panoptikum, no. 23 (August 24, 2020): 117–30. http://dx.doi.org/10.26881/pan.2020.23.09.
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The text addresses the issue of feminist film criticism in Poland in the 1980s, represented by the book by Maria Kornatowska Eros i film [Eros and Film, 1986]. In her analysis Kornatowska focused mostly on Polish cinema, examined through a feminist and psychoanalytic lens. As a film critic, she followed international cinematic offerings and the latest trends in film studies, which is why she decided to fill the gap in Polish writings on gender and sexuality in cinema, and share her knowledge and ideas on the relationship between Eros and Film. The purpose of the text on Kornatowska’s book was to present her individual interpretations of the approach of Polish and foreign filmmakers to the body, sexuality, gender identity, eroticism, the question of violence and death. Secondly, it was important to emphasize her skills and creative potential as a film critic who was able to use many diverse repositories of thought (including feminist theories, philosophy and anthropology) to create a multi-faceted lens, which she then uses to perform a subjective, critical analysis of selected films.
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Sieńko, Piotr. "“Where is my revolution” – the world in the eyes and works of Maria Sadowska." Kultura i Wartości 31 (August 30, 2021): 125–49. http://dx.doi.org/10.17951/kw.2021.31.125-149.
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Reviewed is a selection of works composed by woman artist composer and songstress Maria Sadowska. These include songs from the “Women's Day” record and from a film of the same title, as well as “Revolution” from the “Table of Contents” album. Due to the method of interpretation I use, the criticism is feminist. I selected precisely these said works for study mainly because the artist has been largely inspired by mothers of feminist thought, such as Susan Sontag, Barbara Kruger and Simone de Beauvoir. The topics touched upon by the artist definitely fall within the interests of feminist criticism. And I hope that taking up the subject of feminism in this context is a timely response to current public interest.
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Flinn, Carol, Mary Ann Doane, Patricia Mellencamp, and Linda Williams. "Re-Vision: Essays in Feminist Film Criticism." SubStance 14, no. 3 (1986): 95. http://dx.doi.org/10.2307/3685000.
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Erb, Cynthia. ": Issues in Feminist Film Criticism . Patricia Erens." Film Quarterly 45, no. 3 (April 1992): 58–59. http://dx.doi.org/10.1525/fq.1992.45.3.04a00120.
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FREELAND, CYNTHIA. "Erens, Patricia, Ed. Issues in Feminist Film Criticism." Journal of Aesthetics and Art Criticism 50, no. 4 (September 1, 1992): 347–48. http://dx.doi.org/10.1111/1540_6245.jaac50.4.0347.
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Yan, Liuxuan, Marlenny Deenerwan, and Raja Farah Raja Hadayadanin. "Portrayals of Marginalized Women in Jia Zhangke’s Cinematic Works." Malaysian Journal of Social Sciences and Humanities (MJSSH) 9, no. 5 (May 22, 2024): e002817. http://dx.doi.org/10.47405/mjssh.v9i5.2817.
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Feminist theories gained prominence in the West as early as the 1960s, progressively impacting film criticism. It was only in the 1990s that Western feminist theory began to permeate Chinese academic realms, including film studies and theory. Despite this introduction, feminism did not significantly alter the traditional gender hierarchy in Chinese cinema, where female characters frequently assume roles subordinate to their male counterparts. Jia Zhangke, a notable figure from the sixth generation of Chinese directors, is neither a female director nor a feminist scholar with a focus on women's studies. Nevertheless, his oeuvre reflects a contemplation of women's issues and adopts a relatively equitable perspective in portraying female characters. This paper examines the depiction of marginalized women in Jia Zhangke's films and their transition from the 'Other' to the 'Subject'. Additionally, it delves into how his films contribute to the generation of feminist discourse and explore the role of cinema in reinforcing female ideologies. Using qualitative analysis, this paper analyses the representation of marginalised women in Jia Zhangke's three films through the theory of the male gaze, with the aim of demonstrating that as women's influence increases, their role will gradually evolve from being seen as 'the other' or a male appendage to being recognised as a 'subject' with a sense of self. Ultimately, after overcoming the established gender hierarchy of the "other", the female characters do not confront or antagonise the male subject, but rather help other women to establish themselves as true female subjects.
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Meng, Ou. "The Self-value Construction of Female Characters in Hidden Figures from the Perspective of Feminism." International Journal of Education and Humanities 3, no. 2 (July 7, 2022): 64–67. http://dx.doi.org/10.54097/ijeh.v3i2.802.
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The Feminist criticism theory, which originated in the 1960s, is a literary criticism theory that interprets literary and cultural phenomena with female gender consciousness as its focus. The theory of criticism has gradually penetrated from political life to all aspects of culture, economy and social life, and has exerted a profound influence in the field of film. Film hidden figure depicts three women from 7 to revolt, from weak to strong career growth process, in the male-dominated field of science and technology have the courage to explore and create our own a piece of heaven and earth, through the career women are the epitome of difficulties and resistance, shows the wisdom of women dried fruits and individual consciousness. From the perspective of feminist criticism, Text Tong explores the self-worth construction process and important influence of the three women in Hidden Figures.
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Erb, Cynthia. "Review: Issues in Feminist Film Criticism by Patricia Erens." Film Quarterly 45, no. 3 (1992): 58–59. http://dx.doi.org/10.2307/1213228.
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Ziemka, Karolina. "The image of a rebel woman in the Czechoslovak New Wave based on the Daises by Věra Chytilová." Dziennikarstwo i Media 15 (June 29, 2021): 65–70. http://dx.doi.org/10.19195/2082-8322.15.6.
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Daises by Věra Chytilová is one of the most important films of the Czechoslovak New Wave, from which the image of a rebellious female figure emerges. Due to its complex nature, aesthetic and semantic diversity, this surreal image can be interpreted on many levels, often extremely different. It is both a criticism of consumerism and nihilism, and a feminist manifesto in the Central and Eastern European edition. The communism that dominated this area tended to institutionalize the inequalities between women and men. Due to the complexity of the problem and the multitude of possible interpretations, the film analysis is based on various methodologies oscillating between feminist criticism and Laura Mulvey’s reflections on the categories of corporeality, gender, and the masculinization of the viewer in narrative cinema.
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Yao, Yuchen. "Analyzing the Growth and Feminine Consciousness of the Two Heroines in 'Thelma and Louise'." Communications in Humanities Research 30, no. 1 (May 17, 2024): 18–28. http://dx.doi.org/10.54254/2753-7064/30/20231352.
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Influenced by the feminism movements in the 1960s, more and more films have begun to pay attention to women's issues as well as presenting a trend of criticism and reflection on the gender issues in the past (and in the Hollywood blockbuster). -The paper will be conducted by utilizing film techniques such as mis-en-scen, colour, lighting, filming techniques, lines, etc. in combination with postmodern feminist theories, female image analysis, female consciousness awakening, gaze theory, as well as theories of narrative and patriarchy to deeply explore and analyse the growth of the subjective consciousness of the two female protagonists in the film. The paper will be conducted by utilizing the textual analysis as a main methodology, trying to contribute a more comprehensive angle to dissect this artwork.
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Kaplan, E. Ann. "The Hidden Agenda: Re-Vision: Essays in Feminist Film Criticism." Camera Obscura: Feminism, Culture, and Media Studies 5, no. 1-2 (1985): 235–49. http://dx.doi.org/10.1215/02705346-5-1-2_13-14-235.
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Hastie, A. "The "Whatness" of Ms. Magazine and 1970s Feminist Film Criticism." Feminist Media Histories 1, no. 3 (July 1, 2015): 4–37. http://dx.doi.org/10.1525/fmh.2015.1.3.4.
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Stigsdotter, Ingrid. "After the A-rating mo(ve)ment: The Bechdel test in Swedish screen culture and beyond." Journal of Scandinavian Cinema 12, no. 2 (June 1, 2022): 135–44. http://dx.doi.org/10.1386/jsca_00069_1.
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This article traces the Bechdel test in Swedish journalistic discourse, showing how the A-rating campaign – sometimes described as a movement – popularized the concept in Sweden in 2013. In addition, criticism of the Bechdel test and A-rating is linked to criticism of recent Swedish cultural policy on film through the common denominator of contrasting quantification with quality. Finally, the article shows how the Bechdel test has inspired computer-based analytical approaches to gender on-screen that would merit further explorations in feminist film scholarship.
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Ningsih, Putu Sri Suci. "ANALYSIS OF AMBITIOUS CHARACTERIZATION OF THE EVIL QUEEN THROUGH PLOT DEVELOPMENT “SNOW WHITE AND THE SEVEN DWARFS” MOVIE." ENGLISH JOURNAL OF INDRAGIRI 7, no. 1 (January 3, 2023): 157–67. http://dx.doi.org/10.32520/eji.v7i1.2294.
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This study presents how prose fiction can be reflected in human life through a feminist literary criticism approach one of them is to identify the ambitious characterization of the Evil Queen in the novel and film adaptation entitled Snow White and the Seven Dwarfs through plot development is closely related to human life. Human characterization certainly has an ambition that they will do anything to get what they want. This study has the purpose that to find out the ambitious characterization of the feminist side of the Evil Queen through plot development between the novel and film adaptation of Snow White and the Seven Dwarfs. This study used close reading as the method by reading the novel and watching the film adaptation of “Snow White and The Seven Dwarfs”. The result of this study is the Evil Queen has an ambitious characterization that is closely related to the feminist side both in the novel and film adaptation of Snow White and the Seven Dwarfs.
Keywords: Prose fiction, Ambitious characterization, Plot development, Novel, Film Adaptation.
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Zhuang, Mingming. "Representations of Surrogacy: Feminist and LGBT Controversy over Film and Media." Advances in Social Science and Culture 2, no. 4 (September 19, 2020): p14. http://dx.doi.org/10.22158/assc.v2n4p14.
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Although transnational surrogacy has received much criticism owing to racial and class issues, the U.S. media portrays domestic surrogacy with overwhelming positive languages by employing specific narrative frameworks. Accompanying this shift, it is not so surprising that the number of gestational carrier cycles have skyrocketed from 727 to 3,423 over the last decade. (Note 1) In particular, increase in the number of gay and single men looking for surrogacy has yielded more controversies. This paper asks the following questions: How does the documentary Made in Boise present surrogacy in the context of a broader debate over feminist and LGBT’s positions? How are gay parents used in the altruism narrative framework to downplay exploitation of surrogacy? By providing insight into the intricate economic and power relationships between surrogate and a new emerging group of intended parents, my case study prompts broader questions such as: How to best document the most authentic narratives of the surrogates? How can feminist and LGBT scholars reconcile their viewpoints over surrogacy? These are pertinent questions concerning exploitation and coercion in the industry, thus influencing future feminists’ studies on reproductive technology and politics.
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Sieńko, Piotr. "Film is a woman. The manifestation of femininity in the work of Maria Sadowska based on Women’s Day." Acta Universitatis Lodziensis. Folia Sociologica, no. 86 (September 30, 2023): 61–76. http://dx.doi.org/10.18778/0208-600x.86.04.
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The aim of this article is to discuss a film by Maria Sadowska, entitled Women’s Day. The main theme around which the artist decided to build its plot is Halina Radwan’s herstory. A woman fulfils various socio-cultural roles, including that of mother, worker and woman, which exposes her to discrimination and exclusion. Feminist criticism therefore proved to be the primary tool used in the analytical process. The article refers to representatives of different research disciplines. The focus lies in capturing the relationships experienced by the main character in Sadowska’s film, both within the private and public spheres. This is preceded by an introduction, which outlines the subject matter addressed by Sadowska, and accompanied by an overview of the basic assumptions of feminist perspective in film studies.
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Chamarette, Jenny. "‘A long meandering slide’: Feminist critique, genderqueerness, sexual agency and Crip subjectivity in Stephen Dwoskin’s late works." Moving Image Review & Art Journal (MIRAJ) 11, no. 1 (April 1, 2022): 10–33. http://dx.doi.org/10.1386/miraj_00081_1.
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Stephen Dwoskin was a prolific experimental filmmaker from the mid-1960s until his death in 2012. Commonly associated with the New York underground film scene and the London Filmmakers’ Co-Op, which he co-founded in 1966, Jewish-American Dwoskin was also a childhood survivor of polio and a disability rights activist. Though an enduring oral legacy of feminist criticism of Dwoskin’s work remains since the 1980s, Dwoskin’s later work from the 1990s and 2000s is acutely understudied. In this article, I recontextualize earlier feminist positions in light of the ‘cripping’ of sexuality and gender proposed by recent critical disability studies, applied to two of Dwoskin’s later works. Adopting archival evidence of feminist critique, feminist art histories and Crip approaches to sexuality, I examine androgyny and genderqueerness in Dwoskin’s photomontages from Ha, Ha! La Solution Imaginaire (1993) and conflations of critical medical and BDSM-structured care in the film Intoxicated by My Illness (2001). I conclude that Dwoskin’s work invites rich epistemological re-evaluation of both feminist critique and entrenched sociocultural conceptions of gendered subjectivity, intimacy and sexual agency.
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Liu, Xi W. "Becoming-monster: Ecoaesthetics and feminist criticism of Chinese animation White Snake (2019)1." East Asian Journal of Popular Culture 9, no. 1 (April 1, 2023): 119–35. http://dx.doi.org/10.1386/eapc_00092_1.
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This article examines Chinese animation Baishe: Yuanqi (White Snake) () and discusses how ecoaesthetics are intertwined with questions of gender representations. Ecoaesthetics are broadly defined to consider the relationship between the human and natural world via de-anthropocentrism – which is the criticism of a human-centred view of the world that surrounds us. The film White Snake focuses on a man who becomes a monster to be with the creature he loves. This article argues that White Snake provides a multi-species model for ecocriticism. On the one hand, the film presents ecological thoughts that showcases a contradictory but symbiotic relationship between human and non-humans; on the other hand, the film neglects the connection between ecoaesthetics and feminist criticism so that it ends up portraying an ecological system that is under the inveterate patriarchal reign and therefore violates ideas around equality in ecoaesthetics. I propose a notion becoming-monster to decipher this ambivalent ecoaesthetic representation. The representation of becoming-monster showcases the harmony that can potentially exist between the human and the non-human appealing de-anthropocentric actions while the ideal image of the equality between human and non-human others is in fact under the male gaze.
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Koushik, Kailash, and Abigail Reed. "Star Wars: The Last Jedi, Beauty and the Beast, and Disney’s Commodification of Feminism: A Political Economic Analysis." Social Sciences 7, no. 11 (November 15, 2018): 237. http://dx.doi.org/10.3390/socsci7110237.
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This paper seeks to explore the strategies Hollywood utilizes to capitalize on feminist social movements through replacing hegemonic male characters with female ones or updating traditional stories through a more “feminist” retelling. By analyzing both 2017’s Star Wars: The Last Jedi and Beauty and the Beast as representative of this corporate trend, we critique the ways in which these pseudo-feminist texts not only contribute little to the social conversation surrounding the evolving roles of women and their representations in media through the lenses of critical political economy, feminist political economy, and feminist film criticism. We conclude that creating “feminist” reimaginings of classic narratives ultimately serves to uphold the existing economic structures that maintain social and financial capital within the largest Hollywood studios. Thus, little to no social progress is made through the creation of these retellings.
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Et.al, Poonam Pichanot. "Portrayal of Women from Stereotype to Empowered in Film Studies." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 11, 2021): 3282–87. http://dx.doi.org/10.17762/turcomat.v12i3.1577.
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Nowadays, without films, we can't really imagine contemporary India society. Although this is Unable to conceptualize a film without a 'story.' A film must 'tell' and 'show' Story, unravelling layer by layer, introducing the magic of the silver narrative on the screen. The stories rooted in culture are praised by the viewer. More so, if they are widely acknowledged in oral or written form, right from the beginning, there has been an indelible connection between literature and films. The policy begins with depictions of women protagonists in mainstream Bollywood films. This topic is considered appropriate because women are a large part of the population of the country and their on-screen representation is thus critical in deciding the promotion of current stereotypes in the country in the society . The paper begins with a discussion on the field of feminist film criticism and how mainstream Hindi Cinema has restricted itself to defined sketches of womanhood. Cinema has limited itself to established sketches of femininity
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Ertem, Elif. "A Feminist Critique of “I’m Thinking of Ending Things”: A Trapped Young Woman in the Dream of a Man." Kadın/Woman 2000, Journal for Women's Studies 22, no. 1 (July 18, 2021): 167–72. http://dx.doi.org/10.33831/jws.v22i1.220.
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Written and directed by Charlie Kaufman, I’m Thinking of Ending Things recently metwith viewers of Netflix and brought the controversy. The film is in the focus of criticism as wellas the likes, praise, and applause. The film is an adaptation from the Canadian writer Iain Reid’sbestselling namesake novel. Neither the book nor the film is not intended to be a feminist study,although it argues to show the existential crisis and the inner-voices of a young woman character.Instead, this piece reflects the subjective interpretations of dreams, memories, and a man’s life,Jake. What makes this piece a subject of feminist critique is the promised story of the movieand the starting point of the movie. This movie promises the audience to hear the voice of ayoung woman going through an existential crisis, making her wonder about her story.
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Sztranyan, Regina Zsófia. "The Dichotomous Assessment of the Historical Inaccuracies, the “White Savior” Trope and the Traces of Black Female Stereotypes in the Flagship Black Feminist Movie Hidden Figures." Folia Humanistica et Socialia 1, no. 2 (June 11, 2024): 65–76. http://dx.doi.org/10.69705/fhs.2023.1.2.6.
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The analysis of Hidden Figures aims to discuss whether this flagship black feminist movie can really help the black feminist attempts by characterizing the events and characters with historical accuracy and without stereotypes. It will be showcased how the white savior trope presented in the film can undermine the successes achieved by black women at NASA while still being a somewhat positive component to the film. It will also be revealed that upon closer examination, the black female stereotypes persist even in this seemingly unprejudiced and flagship black feminist film. To corroborate this theory, the discrepancies of the biographical drama film adaptation and the nonfiction volume it is based on will be highlighted. The actions, diction, and body language of the movie's three protagonists will also be analyzed to demonstrate that they sometimes evoke the conventional black female stereotypes and/or their later variants. It will be concluded that although the criticism made in relation to the film may fall within today's exaggerated PC culture and/or Cancel culture — as the stereotypical traits can be justified in the narrative's context —, it is still important for filmmakers and even actresses to be aware of these stereotypical traces so that they do not perpetuate them, even unconsciously and unintentionally.
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Antoinette Shalini, Lourdes, and Alamelu C. "A JOURNEY FROM STRUGGLE TO PROMINENCE IN THE INDIAN FILM PINK." Humanities & Social Sciences Reviews 7, no. 5 (October 26, 2019): 823–26. http://dx.doi.org/10.18510/hssr.2019.75105.
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Purpose of the study: This work explores feminism as a conceptual framework for viewing society and its impact on women by analyzing the changes in women’s life and attitude through the film Pink.
Methodology: The study is descriptive research and is analyzed through the content and follows interpretive methods for critical analysis.
Main Findings: An amazing, valiant movie that spotlights on real young women who live genuine lives and manage thorny routine issues, which every young woman faces all over the world and relates with.
Applications of this study: The present work is interpreted in the light of feminist theory and criticism which has paved path for many solutions all over the world through not only writings but also by various means, in which films play a vital role where the struggles have been brought out in the screen so that women could relate themselves with the characters portrayed in the films which are not only imaginative; but the real face of many unknown women in the society.
Novelty/Originality of this study: The present work differs and deals with the co-existence that this society should abide by, be it a man or women both have equal roles in the society and through the lead actor this bold issue has been dealt in the film Pink.
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Troxell, Jenelle. "“Light Filtering through Those Shutters”: Joyless Streets, Mnemic Symbols, and the Beginnings of Feminist Film Criticism." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 3 (December 1, 2019): 63–95. http://dx.doi.org/10.1215/02705346-7772387.
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This article examines the origin myth of the feminist film journal Close Up, namely, an excursion by its founders Bryher and H.D. to see G. W. Pabst’s Die freudlose Gasse (The Joyless Street, 1925) in a small cinema in Montreux, Switzerland. Throughout the essay, I use Joyless Street as a case study to analyze the ways in which theories of trauma can be effectively brought to bear on melodramas of the post–World War I era and, in the process, demonstrate the appeal Pabst’s works held for the Close Up editors, who shared his interest in trauma, psychoanalysis, and healing. By analyzing Joyless Street through the lens of Close Up, I demonstrate how Bryher and H.D. anticipate the development of trauma theory, which emerged in the early 1990s. Unlike traditional, often totalizing, applications of psychoanalysis (which emphasize notions of spectator desire and lack), the Close Up writers’ engagement of psychoanalysis focuses on issues of history, memory, and the response of spectators to historically specific situations. Their theory further suggests that in addition to surrogate fantasy fulfillment, film—in its recurring representation of trauma—might aid in mastering shared cultural symptoms, which women often experienced in isolation. Through their sustained analysis of film melodrama, the Close Up writers demonstrate that the war, beyond its devastating effects on combatants, also impacted the (female) civilian population—resulting in Close Up’s call for a critical film culture that speaks to that experience.
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Allen, Jeanne. "Palaces of Consumption as Women's Club: En-countering Women's Labor History and Feminist Film Criticism." Camera Obscura: Feminism, Culture, and Media Studies 8, no. 1 (January 1, 1990): 150–58. http://dx.doi.org/10.1215/02705346-8-1_22-150.
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LORRAINE, RENÉE COX. "Diane Carson, Linda Dittmar, and Janice R. Welsch, Eds., Multiple Voices in Feminist Film Criticism." Journal of Aesthetics and Art Criticism 53, no. 3 (June 1, 1995): 328–31. http://dx.doi.org/10.1111/1540_6245.jaac53.3.0328.
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Song, Yueyue. "The Rewriting of Eileen Changs Female Characters and Its Significance in the Film Love After Love." Communications in Humanities Research 21, no. 1 (December 7, 2023): 7–13. http://dx.doi.org/10.54254/2753-7064/21/20231392.
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In November 2021, the film Love After Love, based on Eileen Changs short story Aloeswood Incense: The First Brazier, was released, sparking widespread attention and controversy. Using the basic method of textual close reading, this paper compares and analyses the source text produced by Eileen Chang with the film text collectively interpreted by the films screenwriter and director to discover the rewritings and changes in the image of her female characters from the short story to the film, and to interpret such rewritings in the theoretical field of feminist literary criticism, in order to answer the question of how Eileen Changs portrayal of women can be adapted to and inspires the contemporary cultural context of China in the adaptation of contemporary creators. The film liberates the female characters in Aloeswood Incense: The First Brazier from the anxiety and pain of lack of desire and self-suppression and also gives them the possibility of reclaiming their dignity and selves, which, on the one hand, is adapted to the cultural context of the increasing call for womens emancipation in contemporary China, but on the other hand, it has not yet escaped from the phenomenon of masculine writing that has been prevalent in the Chinese cultural context since the beginning of the twentieth century.
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LICHEVA, Amelia. "POSTFEMINISM." Ezikov Svyat volume 19 issue 3, ezs.swu.v19i3 (October 1, 2021): 120–24. http://dx.doi.org/10.37708/ezs.swu.bg.v19i3.13.
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In the age of all "post" and "meta" things, when there has been more and more debates about the death of traditional categories, feminism makes no exception. Postfeminism has been discussed since the last decade of the twentieth century, when feminism was pronounced dead (by analogy with the many deaths that were pronounced in the period), or else it was noted as suffering from an "identity crisis." The multifaceted nature of the term depends on its uses in literary studies, academia, politics, and popular culture, respectively. It is part of the vocabulary and theories of feminist scholars working in the fields of gender studies, film studies and media criticism. Traditional feminism gives way to postfeminism. That is why the article deals with today's debates about the distinctions that postfeminism makes, declaring either that traditional feminism has failed or, on the contrary, that it has achieved all goals of its struggle and today there is no place for the topic of women's rights. The text also focuses on the links between postfeminism and popular culture, media, cinema, defending the ideology of successful women, of eternally young women. With its frequent emphasis on luxurious lifestyle, everyday pleasures and the small things in life, postfeminism is fully integrated into economic discourses and new market niches in Western societies.
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Sampe, Marssy Diana. "Rejection against the Patriarchal Society in Stephen Chbosky and Evan Spiliotopoulos Beauty and The Beast." Journal of Language and Literature 22, no. 1 (March 23, 2022): 115–24. http://dx.doi.org/10.24071/joll.v22i1.3582.
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Liberal feminism is a movement that focuses on individual freedom. This idea reflects women's liberation: women should have the same rights and opportunities as men in education, economy, politics, rights, and other gender inequality issues. The research aims to analyse Beauty and the Beast film's script through liberal feminism's lenses. This research uses a library research method that applied feminist criticism. Reading and selecting data techniques were used to collect the data. The film script of Beauty and the Beast used the data. To analyse the patriarchal society in the script, theories by Hooks and Beauvoir were used. The analysis results show that men have control and power to dominate people, especially women, and women do not enjoy the dignity of being a person; they do not have anything unless they are part of men's patrimony. To analyse the rejection done by Belle, theory by Freedman was used. The result shows that Belle rejects the social convention by reflecting the value of liberal feminism and individual autonomy. The implication in the story that insists on the voice of equality between gender, women deserve the right to get a proper education, liberty, justice, and the same rights as men.
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ORTA, Nermin. "RE-READING MUSTANG IN THE CONTEXT OF THE IDEOLOGICAL COMPONENTS OF NARRATIVE." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 2 (April 1, 2021): 617–34. http://dx.doi.org/10.7456/11102100/019.
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Representation of the female body has been one of the most emphasized issues in gender debates. To refrain from reproducing the patriarchal ideology, it is important to be careful with the distinction between the body being tabooed and covered or transformed into an object of consumption under the name of freedom. The sexualization and objectification of the female body has taken place in the historical process. In many products from works of art to mass media, the woman, who is a passive object in front of the man who is the active/subject, is presented to the consumption of the male gaze. In almost every branch of art, from photography to cinema, the female body has been the object of the gaze and has been turned into an object of desire by being removed from the subject identity. Even in films that are claimed to be made with a woman's point of view and against gender discourses, the female body is sometimes objectified with elements such as the stage order, lighting, and perspective preferences. In this study, which aims to reveal how cinematographic elements can change the world of meaning, the first film of Deniz Gamze Ergüven, Mustang (2015), was discussed with feminist criticism in the axis of object-body by giving examples from various art branches in terms of cinematographic preferences. As a result of the study, it has been determined that the film, which claims to have set out with critical point of view, reproduces the discourses it tries to criticize. The reason for this is that the film falls into the traps of patriarchal ideology.
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Ouellette, Laurie. "Dead Ringers and the Horror of Childbirth on the Small Screen." Film Quarterly 77, no. 2 (2023): 73–78. http://dx.doi.org/10.1525/fq.2023.77.2.73.
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The streaming series Dead Ringers (Amazon), loosely adapted from David Cronenberg’s 1988 body horror film about twin male gynecologists, viscerally represents the too-often-violent act of childbirth in order to address the crisis of maternal health care in America. As a series for the small screen, it exploits television’s capacities to show and tell as a form of public education, directing our attention to social issues, including the maternal mortality crisis and the racist history of gynecology and obstetrics. FQ contributing editor Laurie Ouellette argues that the series is “uncomfortable television” by feminist design, in that it deploys corporeal aesthetics and social criticism to unsettle audiences.
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Christiana, Helen, Pratiwi Retnaningdyah, and Ali Mustofa. "English Literature Students’ Perception of Sexual Violence/Harassment in Bombshell Film: Reader-Response Criticism." Linguistic, English Education and Art (LEEA) Journal 7, no. 1 (July 20, 2023): 13–31. http://dx.doi.org/10.31539/leea.v7i1.6349.
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Violence or sexual harassment especially against women can still be found especially in the world of work and this is due to the lack of feminist teachings in children which results in their adulthood with patriarchal thinking. This study uses English literature students as subjects and looks at their responses to the sexual harassment/violence in the movie Bombshell. This research will discuss their opinions about the movie Bombshell, their responses to gender issues in the movie, and what things shape their responses, all of which will be taken from their answers from the questionnaires distributed and interviews. From the results obtained that there are those who like and dislike the movie and some get lessons but some do not get lessons, that their response to sexual harassment/violence is also different, some agree and some disagree and so are the things that shape their response from personal experience to seeing other people.
Keywords: Film, Reader-Response Criticism, Sexual Violence/Harassment, Students’ Perception
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Baker, Courtney R. "Framing Black Performance." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 2 (September 1, 2020): 37–61. http://dx.doi.org/10.1215/02705346-8359506.
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Recent African American film scholarship has called for an attention to the structures of black representation on screen. This work echoes the calls made in the 1990s by black feminist film and cultural scholars to resist the allure of reading for racial realism and to develop more appropriate critical tools and terms to acknowledge black artistic innovations. This essay takes up and reiterates that call, drawing attention to the problems of film interpretation that attend to a version of historical analysis without an understanding of form and medium. Foregrounding film as a terrain of struggle, the essay mobilizes an analysis of the 2014 film Selma to illuminate the multiple resonances of the concept representation. Focusing on the film’s representation of women and girl characters, the essay argues that cinematic play with the terms and conditions of representation comment powerfully on the limitations of cinematic and historical discourses to speak about the black femme as a political subject. Analysis of Selma exposes the key problems of reception and criticism facing contemporary African American film. The film speaks to the failure of de jure representational regimes in post–civil rights movement America and offers up the cinematic terrain as an important twenty-first-century site of African American struggle.
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Wahlström, Helena. "Reproduction, Politics, and John Irving’s The Cider House Rules: Women’s Rights or "Fetal Rights"?" Culture Unbound 5, no. 2 (June 12, 2013): 251–71. http://dx.doi.org/10.3384/cu.2000.1525.135251.
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While hotly debated in political contexts, abortion has seldom figured in explicit terms in either literature or film in the United States. An exception is John Irving’s 1985 novel The Cider House Rules, which treats abortion insistently and explicitly. Although soon thirty years old, The Cider House Rules still functions as an important voice in the ongoing discussion about reproductive rights, responsibilities, and politics. Irving represents abortion as primarily a women’s health issue and a political issue, but also stresses the power and responsibility of men in abortion policy and debate. The novel rejects a “prolife” stance in favor of a women’s rights perspective, and clearly illustrates that abortion does not preclude or negate motherhood. This article discusses Irving’s novel in order to address abortion as a political issue, the gender politics of fictional representations of abortion, and the uses of such representations in critical practice. A brief introduction to the abortion issue in American cultural representation and in recent US history offers context to the abortion issue in Irving’s novel. The analysis focuses on abortion as it figures in the novel, and on how abortion figures in the criticism of the novel that explicitly focuses on this issue. The article argues that twentyfirst century criticism of Irving’s text, by feminist scholars as well as explicitly anti-feminist pro-life advocates, demonstrate the pervasive influence of antiabortion discourses illustrates, since these readings of Irving’s novel include, or reactively respond to, the fetal rights discourse and the “awfulization of abortion.” The article further proposes that the novel’s representations of reproductive rights issues – especially abortion – are still relevant today, and that critical readings of fictional and nonfictional representations of reproductive rights issues are central to feminist poli-tics.
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Dovey, Lindiwe. "Intermediality in Academia: Creative Research through Film." Arts 12, no. 4 (August 1, 2023): 169. http://dx.doi.org/10.3390/arts12040169.
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This article provides an overview of the recent flourishing of research and pedagogy in higher education that seeks a greater rapprochement between criticism and creativity, bringing together diverse media, disciplines, and modes of knowledge production and expression. It focuses on transformations in film and screen studies and on the ethical and aesthetic possibilities of conducting creative, intermedial research through filmmaking, drawing on the author’s recent, first-hand experiences of conducting such research through her making of two films about the African women filmmakers Judy Kibinge (from Kenya) and Bongiwe Selane (from South Africa). The author gives specific examples from her filmmaking process to show how she has attempted to unsettle the generic space between documentary filmmaking, curatorial practice, and video-essay making to engage in a collaborative research practice with Kibinge, Selane, and their communities, as well as her research teams. Grounding itself in a decolonial feminist framework, this article draws on the perspectives of a wide range of thinkers and filmmaker scholars to explore ways in which the colonial, patriarchal values that have haunted many academic institutions can be reformed to allow for the envisioning of new futures that will lead to a more self-reflexive, socially just higher education environment.
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Bauer, Nancy. "An Essay Concerning Beauvoir, Cavell, Etc." Conversations: The Journal of Cavellian Studies, no. 6 (December 28, 2018): 24–31. http://dx.doi.org/10.18192/cjcs.v0i6.4105.
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This is the story of my coming to read Le Deuxième Sexe in the rather unusual way that I do.I was raised, as it were, in the Philosophy Department at Harvard University as part of the last generation working seriously under the tutelage of Stanley Cavell. Though Cavell’s tastes in philosophy were strikingly wide-ranging, crisscrossing the divide between analytic and continental philosophy, not to mention genres and mediums, there were limits to his tastes, as there of course are in every person’s case. He was interested in Heidegger, but not in European phenomenology more generally. (The one thing I recall him saying about Sartre was this offhand remark, perhaps something he had heard or read before, during a seminar: “Sartre thinks it’s very important that no one can die my death for me. Well, no one can take my bath for me, either.”) He was interested in the great film actresses of Hollywood’s golden period—Katharine Hepburn, Barbara Stanwyck, Irene Dunne, Bette Davis, Ingrid Bergman—and even thought of them as, in their own way, philosophers on screen; but he was not as interested, at least publicly, in women writers. He did engage with feminist thinkers in his own writing about film, but he was concerned in those moments mostly to worry about what he experienced as a certain theoretical rigidity in feminist film theory and what he saw as its failing to allow the objects of it criticism breathing room and to give his own way of thinking, which he saw as very much sympathetic to women’s concerns, a chance.
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Li, Yingning. "The 2023 Barbie and Post-feminism: Narrative in Hollywood Movie Industry." Communications in Humanities Research 29, no. 1 (April 19, 2024): 35–40. http://dx.doi.org/10.54254/2753-7064/29/20230522.
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Barbie has been a subject of both praise and criticism when it comes to feminism. After the release of the live-action film Barbie in 2023, the discussion of gender identity was triggered. This article analyzes the relationship between Barbie dolls and Hollywood movies focusing on post-modern women's self-identity through the body. Barbie is regarded as a cultural symbol of the male gaze body design that solidifies gender stereotypes. The 2023 Barbie encourages women to identify with themselves and their bodies, from which they can feel the strength and charm of women and understand the complexity and diversity of culture. First, this work will briefly discuss the effect of Barbie brand image in the introduction. Secondly, this article will do an analysis of the leading roles in the movie and connect them with the genderized dilemma that most modern females are facing. Then, the development of Barbie images, their inverse relationships with feminist ideologies, and the underlying consumerism ideas in the Mettel brand industry will be further discussed. Finally, the core logic behind the male gaze and patriarchy will be combined and presented.
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Hauke, Alexandra. "A Woman by Nature? Darren Aronofsky’s mother! as American Ecofeminist Gothic." Humanities 9, no. 2 (May 26, 2020): 45. http://dx.doi.org/10.3390/h9020045.
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In this essay, I discuss Darren Aronofsky’s 2017 feature film mother! in the context of an intersectional approach to ecofeminism and the American gothic genre. By exploring the histories of ecofeminism, the significances of the ecogothic, and the Puritan origins of American gothic fiction, I read the movie as a reiteration of both a global ecophobic and an American national narrative, whose biblical symbolism is rooted in the patriarchal logic of Christian theology, American history, female suffering, and environmental crisis. mother! emerges as an example of a distinctly American ecofeminist gothic through its focus on and subversion of the essentialist equation of women and nature as feminized others, by dipping into the archives of feminist literary criticism, and by raising ecocritical awareness of the dangers of climate change across socio-cultural and anthropocentric categories. Situating Aronofsky’s film within traditions of American gothic and ecofeminist literatures from colonial times to the present moment, I show how mother! moves beyond a maternalist fantasy rooted in the past and towards a critique of the androcentric ideologies at the core of the 21st-century Anthropocene.
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Khairunnisa, Liyana, Supiastutik Supiastutik, and Ghanesya Hari Murti. "Post-feminist Discourses in Taylor Jenkins Reid’s The Seven Husbands of Evelyn Hugo." Journal of Language and Literature 24, no. 1 (April 1, 2024): 290–300. http://dx.doi.org/10.24071/joll.v24i1.6468.
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This research analyzes feminist success in post-feminist discourse related to neoliberalism in the Hollywood film industry through The Seven Husbands of Evelyn Hugo. This research aims to reveal how Evelyn's actions within the neoliberalism framework criticize the discourse of post-feminism. Postfeminism emerged as a response to feminism, suggesting that women can embrace traditional feminine roles while still feeling empowered and in control, as post-feminism believes that feminism has largely achieved its goals. Angela McRobbie's post-feminism theory is used to analyze the novel because it identifies the form of neoliberal practice in post-feminism. The results show that the success of neoliberal feminists portrayed by Evelyn is false because the dominance of neoliberalism practices still idealizes a heterosexual matrix with seven marriages possible in the Hollywood industry. Women are capitalized as sexual objects for heterosexual audiences for neoliberal interests. Women must comply with these two things through the sexual contract by participating in the fashion beauty complex to survive in the work environment. The resulting impact is that women then repress their gender identity and discipline it to fit the industry's logic. This discourse is disseminated in the novel as a social discourse even though the author's critical position seeks to reject the application of heteronormativity in the novel and also the social practices of the Hollywood industry.
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Scullion, Adrienne. "Self and Nation: Issues of Identity in Modern Scottish Drama by Women." New Theatre Quarterly 17, no. 4 (November 2001): 373–90. http://dx.doi.org/10.1017/s0266464x00015001.
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The creation of the devolved Scottish parliament in 1999, argues Adrienne Scullion, has the potential to change everything that has been understood and imagined or thought and speculated about Scotland. The devolved parliament shifts the governance of the country, resets financial provisions and socio-economic management, recreates Scottish politics and Scottish society – and affects how Scotland is represented and imagined by artists of all kinds. The radical context of devolution should also afford Scottish criticism an unprecedented opportunity to rethink its more rigid paradigms and structures. Specifically, this article questions what impact political devolution might have on the rhetoric of Scottish cultural criticism by paralleling feminist analysis of three plays by women premiered in Scotland in 2000 with the flexible, even hybrid, model of the nation afford by devolution, resetting identity within Scottish culture as much less predictable and much more inclusive than has previously been understood. An earlier versions was delivered by the author on 5 March 2001 to the Royal Society of Edinburgh in receipt of the biennial RSE/BP Prize Lectureship in the Humanities. Adrienne Scullion teaches in the Department of Theatre, Film and Television Studies at the University of Glasgow, where she is also the academic director of the Centre for Cultural Policy Research.
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Jovkovska, Ana. "THE CULTURAL SHACKLES OF NORMATIVE FEMININITY THROUGH CERTAIN LITERARY AND FILM NARRATIVES." PHILOLOGICAL STUDIES 19, no. 2 (2021): 110–30. http://dx.doi.org/10.17072/1857-6060-2021-19-2-110-130.
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The contemporary challenges of culture and gender in consumer society are numerous. Through critical reflections on certain aspects of women's representation in popular culture, we will re-examine her role in society, seeking explicit and subliminal sexist messages embedded in literary and film language. Exploring the hegemony of the body, through the objectification of women and sexism, the cultural shackles of normative femininity, we will try to find gender asymmetry in the media representation and note the relationship with the ideology of consumerism and mass culture. Decoding the gender stereotypes, on the one hand, and the contemporary post-feminist transformations of femininity, on the other, we will re-examine the gender roles in popular culture by asking questions: To what extent do books and films about Bridget Jonesand The Stepford Wivesoppose the macho, sexist and patriarchal culture? Are they a rebellion against gender and structural discrimination against women? Is the criticism in those works clear and explicit or, in the attempt to detect gender stereotypes, do they in fact legitimize and strengthen them? Is it a matter of subversion, resistance or acceptance, or is it a reconciliation with the dominant values of popular culture and masculine society? Through the polysemic reading of the texts we will seek for the new meanings that are created through the juxtaposition of the code and the decoder, in the interaction between the text, the meaning, the context, the recipient and the discourse. The production of meanings extends far beyond the processes of fabrication, exchange and reproduction of culture
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Savage, Jordan. "True Grit: Dirt, Subjectivity and the Female Body in Contemporary Westerns." Zeitschrift für Anglistik und Amerikanistik 68, no. 1 (March 26, 2020): 53–66. http://dx.doi.org/10.1515/zaa-2020-0006.
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AbstractThis article considers the significance of dirt to three Western texts: Lonesome Land, Mudbound, and Brokeback Mountain. The overall argument is that the more complicated and ambiguous dirt is permitted to be, the more imaginative and critical potential it has for the iconography of the contemporary Western. Taking B.M. Bower’s 1912 Western Romance as a model, it is argued that the dirt aesthetic is crucial to how Westerns construct the myth of the American character. This is further complicated by intersections between representations of the White rural poor, women (as for both Lonesome Land and Mudbound, there are connotations of sexual impurity in the dirty White female body), and representations of queerness. In the two versions of Brokeback Mountain, Annie Proulx’s short story and Ang Lee’s film, we see the ambiguity of dirt: it can be read as an essential part of the American land, or as polluting waste matter. The critical framework draws on feminist history and criticism via Kathleen Healey and Phyllis Palmer; sociological theories of imagining poverty in North America via Kate Cairns and Winfried Fluck; and queer theory via Christopher Schmidt.
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Page, Louise. "Emotion is a Theatrical Weapon." New Theatre Quarterly 6, no. 22 (May 1990): 174–82. http://dx.doi.org/10.1017/s0266464x00004243.
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Louise Page was born in London in 1955, but lived in Sheffield from the age of five until a short while ago. She read drama at Birmingham University, and took a postgraduate diploma in playwriting, then returned to Sheffield in 1979 as Fellow in Drama and Television. In 1982–83 she was resident writer at the Royal Court, and in 1985 was awarded the first J. T. Grein Prize by the Critics’ Circle. With a string of widely-produced plays from the early Tissue through Salonika and Golden Girls to the more recent Beauty and the Beast and Diplomatic Wives, Louise Page is now firmly established as one of the leading playwrights of her generation. The present interview was recorded while she was in Greece in September 1988 to prepare the film adaptation of Salonika. The interviewer, Elizabeth Sakellaridou, is Senior Lecturer in Modern English Drama in the University of Thessaloniki. Her publications include Pinter's Female Portraits (Macmillan, 1988), and several articles on modern English drama and feminist criticism. She is currently preparing a study of contemporary British women dramatists. Her ‘NTQ Checklist’ of Louise Page's work follows this interview.
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Restiyani, Ajeng, and Suma Riella Rusdiarti. "Transformasi Resistensi Perempuan dalam Novel Sitti Nurbaya Karya Marah Rusli ke Serial Musikal Nurbaya." Diglosia: Jurnal Kajian Bahasa, Sastra, dan Pengajarannya 6, no. 2 (May 12, 2023): 607–24. http://dx.doi.org/10.30872/diglosia.v6i2.685.
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This study aims to dismantle the strengthening of patriarchal culture and its impact on women’s position in the adaptation of the Sitti Nurbaya novel by Marah Rusli to the Nurbaya musical series directed by Naya Anindita and Venytha Yoshianthini and broadcast on Indonesia Kaya Youtube channel. The research method used is analytical descriptive by applying the concept of ecranisation, a feminist approach and aspects of musicality in musical theater, in addition to digital cinematography as readings of a film theater. The results show the transformation of the main female character’s resistance to patriarchal culture in novels and musical series. In the novel, resistance is targeted at criticism of domestic practices in the household. In contrast, in musical theater the resistance is extended to contemporary issues, namely dreams of freedom and ideals. In addition, the resistance of the main female character also shows her agency, which can influence other oppressed women to fight back. However, despite the transformation of resistance, the adaptation still reflects the strengthening of patriarchal culture. In the musical series, the patriarchal culture that occurs is not only carried out by male domination but by the involvement of women in strengthening patriarchal domination.