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Journal articles on the topic 'Feminist film theory'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Li, Xiaoxiao. "Lee Chang-dong Poetry: Feminism from the Male Perspective." Communications in Humanities Research 19, no. 1 (2023): 194–201. http://dx.doi.org/10.54254/2753-7064/19/20231237.

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With the development of the feminist movement and the concept of feminist cinema, feminist cinema has continued to develop. In recent years, feminist films have received widespread attention, but how to embody feminism from the male perspective in the male-dominated film industry has long been a hotly debated issue. This paper analyses the Korean realist director Lee Chang-dongs film Poetry, combines Foucaults theory of panoramic gaze, analyses the symbolic language in the film, and compares it with the works of other similar directors, aiming to discover the diversity of the presentation of f

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Feng, Yirong. "The Research on the Gaze Theory and Feminist Film." BCP Education & Psychology 8 (February 27, 2023): 308–13. http://dx.doi.org/10.54691/bcpep.v8i.4345.

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Feminism is a social theory and political movement created and initiated to end sexism, sexual exploitation, discrimination, oppression and to promote equality for the sexual class, focusing on the analysis of gender inequality and the promotion of the rights, interests, and issues of the sexual underclass in addition to the critique of social relations. Feminist film theory grew out of the feminist movement, critiquing the stereotypical images of women portrayed in the classic cinema while also exploring how to reproduce female subjectivity and desire in film. Taking two films, Malèna and Por

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Tudor, Deborah. "Feminist Film Theory 101." Afterimage 16, no. 8 (1989): 21. http://dx.doi.org/10.1525/aft.1989.16.8.21.

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Fischer, Craig. "Why Feminist Film Theory?" NWSA Journal 14, no. 2 (2002): 171–80. http://dx.doi.org/10.2979/nws.2002.14.2.171.

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Mehta, Jyoti, and Dr Anil Adagale. "Breaking the Caste Ceiling: Dalit Feminism in Bollywood." International Journal of English Literature and Social Sciences 8, no. 3 (2023): 131–35. http://dx.doi.org/10.22161/ijels.83.21.

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Given that the use of Dalit feminist theory in Bollywood films is a relatively new area of study, an article on this topic may have significant implications for both academics and the Indian film industry. Growing the intersectionality dialogue: Intersectionality, which recognises how many forms of oppression, such as caste, gender, class, and race, interact and have an impact on people's lives, is a central concept in feminist theory. By utilising Dalit feminist theory in Bollywood films, it may be possible to better understand caste and gender intersections in the Indian setting and how they

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Dai, Yutong. "The Feminist Perspective in Agnès Varda’s One Sings, the Other Doesn’t." Studies in Art and Architecture 2, no. 3 (2023): 90–100. http://dx.doi.org/10.56397/saa.2023.09.11.

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Varda’s most overtly feminist film, One Sings, the Other Doesn’t follows the friendship of two very different women over the course of two decades. This paper is going to analyze the narrative structure of the film from the perspective of feminism, applying Beauvoir’s feminist theory and Shendan’s theory of “implicit process” to the characters of Pauline and Suzanne; Meanwhile, the paper is going to relate the film to the background of Varda’s creation with the analysis of Varda’s creation of women. As a feminist, Varda’s protests are never silent. The “hidden process” that exists underneath t

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Kumari, Priya. "A Psychoanalytic-Feminist Study of Gender Bias in Indian Cinema." International Journal of English Literature and Social Sciences 8, no. 2 (2023): 245–48. http://dx.doi.org/10.22161/ijels.82.35.

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Psychoanalytic feminism is a theory of oppression which asserts that men have an inherent psychological need to subjugate women. The root of men’s compulsion to dominate women and women’s minimal resistance to subjugation lies deep within the human psyche. Indian film industry has been phallocentric depicting mainly male dominated narrative structure whereas women are reduced to marginalized roles only to glamorize the hero-centric set up. These films rarely portray women and their isolated worlds because this subject would be a commercial set back preventing audiences from hitting the theatre

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Alfarras, Riziq Prio, and Purwarno Purwarno. "INDIVIDUALISM IN THE 1997 ANIMATED FILM ANASTASIA: A LIBERAL FEMINISM PERSPECTIVE." SIGEH ELT : Journal of Literature and Linguistics 4, no. 2 (2024): 273–95. http://dx.doi.org/10.36269/sigeh.v4i2.2605.

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This research aims to analyze how Anastasia portrays themes of liberal feminism and individualism. It investigates how the protagonist’s journey embodies feminist ideals of self-discovery, resilience, and the defiance of gender expectations. Grounded in liberal feminist theory, which emphasizes personal autonomy and equality before the law (McMillan, 2009); this study employs qualitative descriptive methods to explore how Anastasia’s narrative reflects these principles. Themes such as identity formation, gender norms, and personal agency are analyzed through the protagonist’s experiences. The

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McKinstry, Susan Jaret, and Constance Penley. "Theorizing Pleasure: Feminist Film Theory." Contemporary Literature 32, no. 1 (1991): 127. http://dx.doi.org/10.2307/1208342.

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Mayne, Judith. "Feminist Film Theory and Criticism." Signs: Journal of Women in Culture and Society 11, no. 1 (1985): 81–100. http://dx.doi.org/10.1086/494201.

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Andrianto, Mohammad Yoga, Chintya Ayu Ramadhan, and Daniel Rino Gogani. "Hidden Figures: A Black and Liberal Feminist Movement Portrayed in Theodore Melfi’s Movie." LITERA KULTURA : Journal of Literary and Cultural Studies 10, no. 2 (2023): 50–54. http://dx.doi.org/10.26740/lk.v10i2.52061.

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Black feminism is concerned with understanding racism, sexism, classism, or other social and political identities as they relate to black women. Liberal feminism is a significant feminist branch that works together to implement political and legal reforms in the context of liberal democracy to attain gender equality. A film is a form of information dissemination used in the feminist movement. Messages and ideologies in a film can affect the audience in affective and cognitive ways. Theodore Melfi’s film Hidden Figures employs feminist theory to depict the inherent concept of women getting stig

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Zhou, Ningyue, and Anxin Ling. "Analyze the Status of Young Women in Patriarchal Societies Films through the Theories of Gaze——Shots of Gazes in "Thelma and Louise"." BCP Social Sciences & Humanities 21 (February 15, 2023): 288–92. http://dx.doi.org/10.54691/bcpssh.v21i.3508.

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The Third Feminist Movement in America is the setting for the iconic feminist movie "Thelma and Louise." The third feminist movement at the time demanded the abolition of social gender norms, prejudices, and more while thinking outside of the traditional feminist paradigm. Hollywood movies must continuously examine the significance of women's existence from the standpoint of cinematic art because Hollywood is the primary source of feminism. Therefore, the focus of this essay is on how to use gaze theories, including male gaze theory and female gaze theory, to depict the status of women in patr

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Asshary, F. Sandro, Fatimah Muhajir, and Ririn Setyowati. "Radical Feminism of Natalie Artemis' Character in Monster Hunter Film." Ilmu Budaya: Jurnal Bahasa, Sastra, Seni, dan Budaya 7, no. 4 (2023): 1255. http://dx.doi.org/10.30872/jbssb.v7i4.8431.

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Feminism issues are often radically depicted in literary works, especially in a film today. Filmmakers emphasize these issues to raise women’s awareness about the oppression that might happen to them. This radical movement happens because they try to create an idealistic society for women. From this premise, radical feminism was born because the previous movement could not undo the women’s oppression as time goes throughout the decades. Adjusting to the patriarchal system, women are often portrayed as unique and unusual to be treated as equal to men. This study aims to analyze the radical femi

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Swanson, Gillian. "BUILDING THE FEMININE: FEMINIST FILM THEORY AND FEMALE SPECTATORSHIP." Art History 13, no. 4 (1990): 585–90. http://dx.doi.org/10.1111/j.1467-8365.1990.tb00409.x.

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Swanson, Gillian. "Building the feminine: Feminist film theory and female spectatorship." Continuum 4, no. 2 (1991): 206–17. http://dx.doi.org/10.1080/10304319109388208.

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Kaplan, E. Ann. "Global Feminisms and the State of Feminist Film Theory." Signs: Journal of Women in Culture and Society 30, no. 1 (2004): 1236–000. http://dx.doi.org/10.1086/421879.

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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 (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

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Prasetya, Adinda Angel Aulia Dewi, and Elve Oktafiyani. "Teenager’s Resistance to Patriarchy in School: A Feminist Movement Representation on Moxie Film." Buletin Al-Turas 29, no. 2 (2023): 241–56. http://dx.doi.org/10.15408/bat.v29i2.27500.

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PurposeThis research aimed to reveal the representation of patriarchy in school and teeanger's feminist movement on Moxie film. MethodThis qualitative research study employed a qualitative content analysis as the design of the research. The data from the film were selected, collected and analyzed using representation theory by Stuart Hall and feminism approach.Results/FindingsThe result showed that Moxie represented patriarchy in school by portraying female objectification, represive school regulation against female, patriarchy in student's reading material, male's achievement glorification, a

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Parke, Jul Jeonghyun. "I would rather be a cyborg than a Barbie: hyperfeminine nostalgia and patriarchal futurity in Barbie." Feminist Theory 25, no. 4 (2024): 565–79. http://dx.doi.org/10.1177/14647001241291436.

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I examine portrayals of digital media and technology in Barbie, analysing Information and Communication Technology (ICT) symbolism in conjunction with the film's thematic commentaries on gender and contemporary affects. I draw my theoretical framework from Tracey Mollet's conceptualisation of twenty-first-century American nostalgia and Donna Haraway's iconic discussion of the cyborg, tracing all appearances of digital screens and devices, media franchises, computer software and virtual platforms in the film. I demonstrate that Barbie consistently associates ICT with toxic masculinity and corru

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Jiang, Yiding, Xinyi Fan, and Xiaohan Xia. "Aladdin——The Live-Action Version: A Feminist Revolt Against Patriarchy." Journal of Education, Humanities and Social Sciences 24 (December 31, 2023): 745–50. http://dx.doi.org/10.54097/r8csre73.

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The live-action version of "Aladdin" (2019) is based on the 92nd edition of Disney's animated film of the same name, giving the audience a great visual treat. As a work in the Disney series, the image of the princess in the live-action version of "Aladdin" is one of the major attractions of the film. Disney's portrayal of princesses is varied. From a feminist perspective, the early images of the princesses embodied the patriarchal and husbandly expectations of women, which is a kind of expectation for women. With the public's understanding, Disney's character and image of the princess have bec

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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 (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 i

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McHugh, Kathleen. "Prolegomenon." Film Quarterly 75, no. 1 (2021): 10–22. http://dx.doi.org/10.1525/fq.2021.75.1.10.

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Kathleen McHugh explores the complex functions of women’s anger in the work and aesthetic circuitry—culture, texts, audience, reviewers—of contemporary feminist filmmakers. For all its ubiquity as a feminist feeling, anger has been little considered critically. While 1970s white theorists of feminine/feminist film aesthetics did not mention anger, feminist lesbian, materialist, and women-of-color critics lamented its absence. Julie Dash’s 1982 Illusions inaugurated an aesthetics of anger from a Black feminist perspective that exemplified the ideas in Audre Lorde’s foundational 1981 essay, “The

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Zhou, Yuhan, Fan Yang, Jialin Yang, and Huiying Wang. "The Influence of Feminist Movements on the Change of Female Images in Film and Television Dramas: Based on the Theory of Semiotics." SHS Web of Conferences 171 (2023): 03026. http://dx.doi.org/10.1051/shsconf/202317103026.

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Semiotics mainly studies the role of symbols in signals, language, culture, human behavior, and social mechanisms. Based on the semiotic theory of female images, this article explores the relationship between feminist ideas and female appearance, behavior, and self-choice in film and television dramas, the reasons for the prevalence of feminism, and the reasons why feminism influences female images in film and television dramas. Semiotics, a branch of linguistics, explores how signs and symbols convey meaning in various cultural and social contexts. It studies the use of signs and symbols to r

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Ibbi, Andrew Ali. "Stereotype Representation of Women in Nigerian Films." CINEJ Cinema Journal 6, no. 2 (2018): 49–70. http://dx.doi.org/10.5195/cinej.2017.166.

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The stereotype representation of women in Nollywood films has attracted criticisms from the society with feminists clamoring for a review of the way women are projected. This study looks at the various issues associated with stereotype representation as a concept in film. The Feminist Media Theory was used as supporting theory for the paper. Part of the recommendations for the paper is the need for research to be properly conducted on the society before screenplays are written, to avoid misleading the public.

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Blaetz, Robin. "The Maternal and Feminist Film Theory." Women: a cultural review 33, no. 1 (2022): 146–48. http://dx.doi.org/10.1080/09574042.2022.2021027.

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LONG, M. "Feminist Film Theory: Osaka, circa 1866." differences 13, no. 3 (2002): 24–63. http://dx.doi.org/10.1215/10407391-13-3-24.

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Sagita, Romala, Lazuar Azmi Zulferdi, and Yusrina Dinar Prihatika. "THE PORTRAYAL OF BLACK FEMINISM IN GARY GRAY'S SET IT OFF THROUGH CRITICAL RACE THEORY." Rubikon : Journal of Transnational American Studies 11, no. 2 (2024): 251. http://dx.doi.org/10.22146/rubikon.v11i2.100137.

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Stories in films are based on social realities in people's lives, embedding messages behind them. Each film is packed with unique characters, events and issues reflecting aspects of life from a particular perspective. One of which is the principles of black feminism in the main characters and to analyze how economic and racial factors influence the character's decision to confront existing injustices depicted in Gary Grey’s Set It Off (1996). The method used is a qualitative research method. Data collection is conducted to sort and understand the research topic by using data from scenes, dialo

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Vilslev, Birgitte Thorsen. "Spiste horisonter og Tre piger og en gris." K&K - Kultur og Klasse 47, no. 127 (2019): 173–94. http://dx.doi.org/10.7146/kok.v47i127.114749.

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This article compares the sexual differences in two Danish avant-garde films. It suggests that the Danish feminist, collective film Three Girls and a Pig from 1971 with an actual castration of a young pig established a deconstruction of a phallic economy in line with the theory of the French feminist linguist Luce Irigaray. In comparison with the artist Wilhelm Freddie’s and filmmaker Jørgen Roos’ surrealist film, Eaten Horizons from 1950, this deconstruction may contribute to a feminist reinterpretation of the latter’s sadist and cannibalistic fetichization of the female body. Furthermore, th

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Scott, Kathleen, and Stefanie Van de Peer. "Sympathy for the Other: Female Solidarity and Postcolonial Subjectivity in Francophone Cinema." Film-Philosophy 20, no. 1 (2016): 168–94. http://dx.doi.org/10.3366/film.2016.0009.

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In this article we explore how female sympathy and solidarity can be forged between transnational subjects and spectators. In particular, we place cinematic depictions of minority female suffering in the contexts of current feminist and postcolonial praxes. The aim is to demonstrate the ways in which world cinema can produce a transnational feminist solidarity through forms and narratives that reflect the experiences of women as gendered postcolonial subjects. Amongst the female and feminist theorists drawn upon, central to our understanding of a transnational feminist solidarity is Sandra Lee

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Fawaz, Ramzi. "Feminism Is for Beginners: Learning from Straight Men Doing Queer Feminism." South Atlantic Quarterly 122, no. 3 (2023): 591–625. http://dx.doi.org/10.1215/00382876-10644057.

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This essay argues for the importance of cisgender straight male perspectives to contemporary feminist theory and practice. I identify four lessons to be learned from what I call male affirmative feminist theory written by people of all genders, defined as any feminist thought that considers cis men critical interlocutors to feminism and legitimate subjects of gender and sexual freedom projects. These lessons include the value of androgynous thinking; the necessity of anti-essentialist approaches to male gender; the importance of understanding nonviolent and anti-sexist male perspectives on gen

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WANG, Can. "Feminist analysis of women's role in the film Desperate Housewives." Region - Educational Research and Reviews 5, no. 4 (2023): 148. http://dx.doi.org/10.32629/rerr.v5i4.1414.

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Desperate Housewives, an American sitcom aired in 2004, takes American housewives as the theme, sets in the middle-class area of Wisteria Lane, and tracks the lives of four housewives with different personalities, Susan, Lynette, Bree and Gabrielle, following the plight they face: all kinds of pressures in life, and the contradiction between the shackles of tradition and the demands for independence and freedom of modern women, which make these housewives almost desperate. In this paper, the reasons for the female plight in the context of the times will be analyzed, and feminism in Desperate H

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Yuliandra, Nisrina Alifah, M. Tsaqif Al Hakim, Miftahul Jannah, AB Sarca Putera, Ayu Adriyani, and Syifa Chairunnisa Viandra. "Analisis Feminist Standpoint Theory: Perempuan Sebagai Objek Dalam Film Tenggelamnya Kapal Van Der Wijck." Social Empirical 1, no. 2 (2024): 161–68. https://doi.org/10.24036/scemp.v1i2.31.

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Penelitian ini bertujuan untuk menganalisis bagaimana film “Tenggelamnya Kapal Van Der Wijck” merepresentasikan kebudayaan Minangkabau yang matrilineal dan bagaimana film tersebut terkait dengan teori feminisme. menganalisis permasalahan gender terutama tokoh perempuan yang ada di dalam film dan dengan memahami kasus tenggelamnya kapal van der wijck dengan mengkaitkan teori feminist standpoint theory agar peneliti dapat menganalisis dan memahami bagaimana perempuan dipersentasikan dalam film tersebut dan bagaimana melihat konflik yang terjadi dalam masyarakat adat minangkabau di dalam film ser

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Farrimond, Katherine. "‘Being a horror fan and being a feminist are often a conflicting business’: Feminist horror, the opinion economy and Teeth’s gendered audiences." Horror Studies 11, no. 2 (2020): 149–68. http://dx.doi.org/10.1386/host_00016_1.

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Horror has long been understood as a ‘bad object’ in relation to its audiences. More specifically, this presumed relationship is a gendered one, so that men are positioned as the genre’s natural audience, while women’s engagement with horror is presented as more fractious. However, those horror films framed as feminist require a reorientation of these relations. This article foregrounds the critical reception of a ‘conspicuously feminist’ horror film in order to explore what happens to the bad object of horror within an opinion economy that works to diagnose the feminism or its absence in popu

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Prismanisa, Lana. "THE REPRESENTATION OF FEMALE CHARACTER IN EDGE OF TOMORROW (2014) FILM BASED ON FEMINIST FILM CRITICS." Diksi 29, no. 1 (2021): 1–9. http://dx.doi.org/10.21831/diksi.v29i1.33063.

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(Title: The Representation of Female Character in “Edge of Tomorrow” (2014) Film Based on Feminist Film Critics). This research analyzes the female character in Edge of Tomorrow, Rita Vrataski. This research intends to understand how female character is described in the film and how female character is described according to feminist film critic. The method used is descriptive qualitative method. This research also uses theory character and characterization in film and theory feminist film critic. As the result, Rita is described as a female soldier who has characteristics as committed, brave,

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Guo, Lanxin. "A Study of the Body Narrative in the Film Portrait de la Jeune Fille en Feu from a Feminist Perspective." Communications in Humanities Research 38, no. 1 (2024): 58–62. http://dx.doi.org/10.54254/2753-7064/38/20240132.

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This article analyses the body narrative in the film Portrait de la Jeune Fille en Feu from a feminist perspective, exploring the gendered power structures implicit in the female characters' bodily expressions and discussing how it constructs and reflects feminist theories. The article reviews the development of feminist theory, emphasises the importance of body narrative theory and its application in film studies, and chooses the film Portrait de la Jeune Fille en Feu as the object of study. Through textual analysis and feminist critical theory, this study dissects the body narratives of the

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Ituarte Pérez, Leire. "Feminismo y cine de mujeres: categorización y debate durante los años setenta y ochenta." Tripodos, no. 42 (June 1, 2018): 107–20. https://doi.org/10.51698/tripodos.2018.42.107-120.

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“Feminismo y cine de mujeres: categorización y debate durante los años setenta y ochenta” aborda una revisión hermenéutica de la categoría de cine de mujeres en su concepción, evolución y consolidación como objeto central de estudio de la teoría feminista anglosajona del cine durante los años setenta y ochenta del pasado siglo. El artículo pretende rastrear los pormenores y complejidades de un concepto sinuoso categorizado, desde sus orígenes, como un género cinematográfico eminentemente “femenino”. Un género que se perfilaba como el formato cinematográfico popular más cercano al deseo,

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Yang, Rui. "The Active Cry of the Double Other Nadine Labaki in the Perspective of Postcolonial Feminist Theory." Communications in Humanities Research 5, no. 1 (2023): 172–78. http://dx.doi.org/10.54254/2753-7064/5/20230169.

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In the Arab world, where the film industry is not well-developed, Lebanese director Nadine Labaki gained the world's attention in 2018 with Capernaum, through which people see the social problems of the Third World and through director Nadine Labaki, people see the double oppression and plight of women in the Third World. As a female director from the third world with female consciousness, Nadine Labaki uses the film as a tool to cry out for the double other actively. As an American scholar from India, Gayatri Chakravorty Spivak has always focused her attention on the Third World and its women

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Zhang, Yiqian. "Analysis of Female Gaze in Lesbian Films from the Perspective of Camera Language —Taking Portrait of a Lady on Fire as an Example." BCP Social Sciences & Humanities 21 (February 15, 2023): 227–31. http://dx.doi.org/10.54691/bcpssh.v21i.3482.

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Western feminist film theory was formed in the 1960s and 1970s and it has been widely discussed since then. With the help of Freud’s psychoanalysis, Laura Mulvey analyzes the interweaving of erotic pleasure in film, its meaning, and the central place of the image of the woman. At the same time, the improvement of film technology and photography methods provide more chances for female spectators to seek pleasure as counterparts in films. The lesbian film is a category that crosses many film genres and highlights female subjectivity. Both female characters and spectators can be the subject of di

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Saputra, Felicia Celine, and Imanuela Kimberly Rumondor. "Reclaiming Agency: Subverting Patriarchy and Reconfiguring Gender in Enola Holmes (2020)." BOANERGES: Makarios Education Journal 2, no. 2 (2025): 140–49. https://doi.org/10.5281/zenodo.15022899.

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In the 21st century, feminism continues to grapple with persistent challenges, including gender pay gaps, underrepresentation in leadership roles, and ongoing debates over reproductive rights that echo historical struggles for equality. Drawing connections to feminist protests during the Victorian era. Using a qualitative method, this study employed feminist theory, particularly the works of Judith Butler (1990), Betty Friedan (1963), and Charlotte Brontë (1847) to analyze the 2020 film Enola Holmes. The film is examined as a cultural text that subverts patriarchal norms and offers a narr

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Jurianto, Izzah Putri, Rina Saraswati, and Rizal Octofianto Datau. "Escaping from Women's Marginalization in Hollywood Film Industry in T. J. Reid's "The Seven Husbands of Evelyn Hugo"." LITE 19, no. 2 (2024): 89–102. https://doi.org/10.33633/lite.v19i2.8421.

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In the journey of the feminist movement, many efforts have been made to save marginalized women from patriarchy. Betty Friedan, an American feminist writer, reveals the controversial phenomenon of the concept of feminine mystique which restrains women from seeking their true selves due to oppression from various parties. In its practice, this phenomenon occurs in the Hollywood film industry, which is supposed to be an industry uncontaminated by gender discrimination. This study aims to investigate the issue of women's marginalization in Taylor Jenkins Reid’s The Seven Husbands of Evelyn Hugo b

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Salsabila, Karina, and Muhammad Zaki Pahrul Hadi. "Analisis Feminis terhadap Variasi Pandangan Emansipasi Perempuan oleh Tokoh March Bersaudara dalam Little Women (2019)." Jurnal Ilmu Sosial dan Humaniora 3, no. 4 (2025): 615–24. https://doi.org/10.57248/jishum.v3i4.588.

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The 2019 film Little Women, a recent adaptation of Louisa May Alcott’s classic novel, presents a compelling narrative centered on women, life choices, and the struggle against social constraints. Directed by Greta Gerwig, the film not only portrays a warm family story but also explores gender dynamics that resonate with contemporary feminist discourse. Through the experiences of the four March sisters Meg, Jo, Beth, and Amy the film becomes a reflection of the diverse and complex forms of female emancipation. This study analyzes Little Women through a feminist lens, employing feminist theory t

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Miražić, Milica. "Lacan's concept of gaze in feminist film theory." Genero, no. 19 (2015): 109–33. http://dx.doi.org/10.5937/genero1519109m.

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Miswa L, Rifqa Imelda. "REPRESENTASI FEMINISME DALAM FILM ‘GANGUBAI KATHIAWADI’." JURNAL AL-IJTIMAIYYAH 9, no. 1 (2023): 161. http://dx.doi.org/10.22373/al-ijtimaiyyah.v9i1.18077.

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Abstract: The social phenomenon that places women in a lower position than men in power relations is an important issue that is often discussed in the context of the struggle for gender equality. However, women's struggle against attachment to power relations is also a relative and contextual social phenomenon. In the Indian context, women in countries that still maintain patriarchal structures often face difficulties and difficult experiences. Patriarchy refers to a social system that gives greater power and control to men in various aspects of life, including in political, economic, cultural

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Liang, Yintong. "Analyzing the Structure of Womens Image in Thelma and Louise Based on Feminist Theory." Communications in Humanities Research 21, no. 1 (2023): 271–78. http://dx.doi.org/10.54254/2753-7064/21/20231513.

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The best movies challenge viewers to think critically about gender roles and other social concerns in addition to providing entertainment. Scotts Thelma & Louise is a perfect example of such a groundbreaking film. This analysis takes a feminist critical perspective to consider the films groundbreaking function in addressing issues of gender inequality, female agency, and barrier-breaking. An examination of the film from a feminist perspective reveals its pervasive impact. The movie Thelma & Louise challenges stereotypical portrayals of women by showing them in a more complex and multif

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Peirse, Alison. "Towards a feminist historiography of horror cinema." Horror Studies 13, no. 2 (2022): 231–49. http://dx.doi.org/10.1386/host_00056_1.

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Jackie Kong released four feature films between 1981 and 1987, including the horror films The Being (1981) and Blood Diner (1987). She directed all four films, while also working variously as screenwriter, producer and editor on individual productions. In this essay, I use Kong’s experiences of making horror films in the 1980s as a way of critically revisiting our histories of 1980s horror film culture. I offer a feminist model of doing horror film history: not only uncovering and illuminating the unknown or little-known work of women in horror film, but also critically thinking about the way

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Gaines, Jane. "Film History and the Two Presents of Feminist Film Theory." Cinema Journal 44, no. 1 (2004): 113–19. http://dx.doi.org/10.1353/cj.2004.0045.

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Pratama, Yoga, and Roro Meifi Pitaloka. "GENDER REPRESENTATION AND FEMINIST DISCOURSE IN THE FILMS BARBIE (2023) AND WONDER WOMAN (2017): A STUART HALL REPRESENTATION ANALYSIS." CALL 7, no. 1 (2025): 93–108. https://doi.org/10.15575/call.v7i1.44225.

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ABSTRACT Media is not just a mirror reflecting the society butâ€‚it also acts as an agent in producing the meanings. This studyâ€™s primary objective is to analyze how gender representation and feminist discourse are constructed in Barbie and Wonder Woman using Stuart Hallâ€™s representation theory. This study aims is to illuminate nuanced interplay between media, culture, and ideology. This study employs a qualitative research approach to analyze the representation of gender and feminist discourse in Barbie and Wonder Woman. The subjects of this study are the films Barbie, directed by Greta G

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Medina Bañón, Raquel, and Barbara Zecchi. "Technologies of Age: The Intersection of Feminist Film Theory and Aging Studies." Investigaciones Feministas 11, no. 2 (2020): 251–62. http://dx.doi.org/10.5209/infe.66086.

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Aging studies is a relatively new discipline, and its intersection with feminist film theory can lead to fundamental methodological and theoretical rethinking of the notion of cinema as a powerful technology of age. This essay provides an account of the ageism that permeates Western societies vis-à-vis the place of aging and gender in visual culture. In light of contemporary feminist conceptualizations of aging and aging narratives, this essay aims to propose possible new directions that cinema and feminist film theory can take as part of a new epistemological framework. It also explores new t

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Fong, Grace S. "Feminist Theories and Women Writers of Late Imperial China: Impact and Critique." Journal of Chinese Literature and Culture 9, no. 1 (2022): 105–30. http://dx.doi.org/10.1215/23290048-9681176.

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Abstract Feminism, feminist theory, feminist literary theory were already highly contentious in what they represented to Euro-American critics and theorists in the 1980s, when scholars in Chinese literary studies began sustained research on women writers in late imperial China (ca. 1600–1911). Their research drew on developments in Western feminist theories while problematizing certain applications. In this article, I review major debates in 1980s and 1990s Western feminist literary theory, divided by the different approaches of Anglo-American and French feminist critics and gender studies, ex

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Syahriyani, Alfi, and Maidhotul Kaifa Novikasandra. "FEMINISM IN ENOLA HOLMES FILM: A SEMIOTIC LENS." Elite : English and Literature Journal 9, no. 2 (2022): 215–29. http://dx.doi.org/10.24252/elite.v9i2.32298.

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Film is not merely a medium to entertain but also a reflection of society's values and conditions. This research deals with the portrayal of feminism in the film of Enola Holmes in the era of 19th century through its main character of the film ‘Enola’. It uses the qualitative method by employing the theory of semiotics of Charles Sanders Peirce, which categorizes signs into three related parts, namely representamen, object, and interpretant. The data was taken by identifying and interpreting the signs through the scenes of the films, including icon, index, and symbol. The findings show that th

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