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Relevant bibliographies by topics / Gender identity in motion films

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Academic literature on the topic 'Gender identity in motion films'

Author: Grafiati

Published: 19 February 2023

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Journal articles on the topic "Gender identity in motion films"

1

Aitken, S. C., and L. E. Zonn. "Weir(d) Sex: Representation of Gender-Environment Relations in Peter Weir's Picnic at Hanging Rock and Gallipoli." Environment and Planning D: Society and Space 11, no. 2 (April 1993): 191–212. http://dx.doi.org/10.1068/d110191.

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Soft images of pubescent women scaling the dizzy heights of a massive phallic rock in turn-of-the-century rural Victoria, and young men matching physical prowess in the indomitable Western Australian desert as World War I rages in Europe, provide foci for two of Peter Weir's most successful early films, Picnic at Hanging Rock (1975) and Gallipoli (1981). In both these films the physical landscape is simultaneously integrated with and contrasted to the passions of young men and women. The result is an aesthetic that takes the viewer beyond the immediate narrative to a place where masculinity and femininity find expression. In this paper, transactional and psychoanalytic perspectives are used to interrogate the gender images which are portrayed in both these movies, linking them to some concepts which find currency in ecofeminism. The concern is with the individual struggle between the powerful, complex, and yet less-than-rational forces that are integral to the nature of our individual beings and the rational nature of prevailing societal values that supposedly provide us with guidance. A dynamic theory of contemporary film is implicit in our discussion of “images in motion over time through space with sequence”. These elements—along with an overlay of shape, size, scale, color, sound, and light—arc the cues that provide meaning for Weir's portrayal of wo/man-in-environmcnt relations. Suggested in this paper is a broader narrative which speaks to a postmodern sexual order and its representations in social theory and contemporary cinema. Crucial questions are raised regarding the ways that cultural identity is grounded in class and gender.

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Marshall, Andrea. "Our stories, our selves: Star Wars fanfictions as feminist counterpublic discourses in digital imaginaria." Journal of Fandom Studies 8, no. 3 (September 1, 2020): 277–88. http://dx.doi.org/10.1386/jfs_00024_1.

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Fanfiction has a long and varied history in the Star Wars franchise since it began in 1977 with the debut of the first film, Star Wars Episode IV: A New Hope. The decade of the 1970s created new possibilities for science fiction multiverses and metanarratives; science fiction became an adaptive film genre that could be reimagined with seemingly infinite narrational results. The myriad of genre films that were released in the mid-to-late 1970s revealed dynamic syntheses with horror (e.g. Alien, Invasion of the Body Snatchers and Close Encounters of the Third Kind), franchises that previously had existed solely on television (Star Trek: The Motion Picture) and musical theatre (The Rocky Horror Picture Show). Cinematic audiences became increasingly accustomed to science fiction tropes and themes in film; audience participation in the theatre (e.g. The Rocky Horror Picture Show) expanded to print zines (often with fanfiction) for multiple franchises as well as fan conventions. Fanfiction’s beginnings as an analogue culture dramatically changed with the advent of the internet and the evolution of fandoms as digital cultures. Web-based platforms such as FanFiction.net and Archive of Our Own (AO3) host sundry fan communities’ creative outputs including podcasts, art and, most frequently, fanfiction stories. The release of Star Wars: The Force Awakens in 2015 immediately captured the fandom’s imagination; the animosity and tension between the new villain Kylo Ren (Ben Solo) and protagonist Rey of Jakku particularly fascinated the young adult fans who were lately converted to the Star Wars fandom due to this pairing (known as Reylo within the fandom and within cinematic circles). The newest generations of fans were acclimated to audience participation and paratextual interactions due to their positions as digital natives. The Reylo fan phenomenon particularly erupted into fanfictions as critical data artefacts, even predicting Reylo as a romantic pairing years before the second and third films in the franchise trilogy Star Wars: The Last Jedi and Star Wars: The Rise of Skywalker. The Reylo pairing is just one example of how online Star Wars fanfiction communities expand audience participation to autonomous collective identity formation. This article examines feminist fanfictions in the Star Wars fandom as gendered critical data artefacts, as collaborative communities of practice, and as counterpublic discourses that apply feminist critiques to conventional gender roles within the most recent film trilogy and the fandom itself.

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Ma, Yingliang, Helena M. Paterson, and Frank E. Pollick. "A motion capture library for the study of identity, gender, and emotion perception from biological motion." Behavior Research Methods 38, no. 1 (February 2006): 134–41. http://dx.doi.org/10.3758/bf03192758.

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Nevin, Barry. "Female agency in the films of Jean Renoir." French Cultural Studies 32, no. 4 (June 10, 2021): 388–402. http://dx.doi.org/10.1177/09571558211012967.

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Although Jean Renoir’s oeuvre has been extensively debated since the emergence of the politique des auteurs in the pages of Cahiers du cinéma, his representation of gender relations has sustained less discussion than his signature formal style. This article posits that Renoir’s films provide a valuable means of identifying how gender, specifically female identity, affects temporal trajectories in cinema. First, it illustrates Gilles Deleuze’s understanding of crystallisation and situates it in relation to current scholarship on gender representation in the director’s work. Second, it conducts a close analysis of the relationship between female identity and crystallisation based on the central female characters of La Règle du jeu (1939) and The Golden Coach (1952). This article ultimately argues that whether these characters belong to an upper-or lower-class stratum, they are subordinated to male power, which plays a determining role in the range of potential futures available to them.

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Kim, Kyu Yeon, Jong Sun Kim, and Ji Soo Ha. "Analysis of Gender Identity Expressed in Perfume Fashion Films - Focused on Judith Butler’s Gender Performativity Theory -." Korean Society of Fashion Design 18, no. 3 (September 30, 2018): 93–109. http://dx.doi.org/10.18652/2018.18.3.6.

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Perić, Vesna. "Status - it's complicated: De/construction of gender identity in romantic SF films." Kultura, no. 167 (2020): 351–70. http://dx.doi.org/10.5937/kultura2067351p.

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Sun, Luyue. "The Development of Queer Film Identity." International Journal of Education and Humanities 4, no. 2 (September 1, 2022): 56–58. http://dx.doi.org/10.54097/ijeh.v4i2.1484.

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As a medium of visualization, the film has provided a vivid visual record, using its unique strengths in restoring reality and historical reenactment as an important means of documenting how human society has explored, perceived, and understood gender identity and emotional desire over the centuries. Queer films, as a branch of cinematic development, have their unique artistic appeal and logic of thinking in terms of gender awareness exploration and erotic expression. In this article, I will focus on the development of queer in Asia, especially in China and Hong Kong. Comparing the different attitudes towards LGBT in western countries and Asia. The analysis is done through the perspective of some queer in the representative movie "Farewell My Concubine".

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Marsh, Leslie L. "Women, Gender and Romantic Comedy in Brazil." Feminist Media Histories 3, no. 2 (2017): 98–120. http://dx.doi.org/10.1525/fmh.2017.3.2.98.

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This essay examines the romantic comedies S.O.S. mulheres ao mar (2014) and Meu passado me condena (2013), which repeat several tropes of the chanchada—a film comedy genre with its beginnings in early twentieth-century Brazil. Both offer a negotiation of changing class status in Brazil during a period of increasing international attention and economic growth (2002 to 2014). Although these films promote new notions of Brazilian cultural identity, they also sustain established hierarchies (of gender, race, ethnicity, sexuality) in favor of promoting neoliberal values and ways of being. In particular they promote consumerism, self-improvement, and the cultivation of personal happiness. Unlike Brazilian popular comedy of the mid-twentieth century, these films do not offer self-deprecating critiques of modernity or the failings of capitalism. Rather, S.O.S. mulheres ao mar and Meu passado me condena celebrate and promote the idea of a new emergent Brazil, making gender and sexuality frameworks for thinking about contemporary Brazilian cultural identity.

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John, Merin Susan. "Analysis of Memory, Gender, and Identity in Psychological Thrillers with Specific Reference to Alfred Hitchcock’s Spellbound and James Mangold’s Identity." Middle Eastern Journal of Research in Education and Social Sciences 1, no. 2 (November 3, 2020): 1–14. http://dx.doi.org/10.47631/mejress.v1i2.9.

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Purpose: This paper aims to analyze the portrayal and presentation of memory, gender, and identity in selected psychological thrillers. Approach/Methodology/Design: The selected films are Alfred Hitchcock’s Spellbound and James Mangold’s Identity. For the analysis of these films, the researcher employs both narrative and structural approaches; thematic analysis, psychoanalysis, and also feminist film theory. Findings: The results of the analysis show that apart from building suspense and mysteries with the identity issue, these thrillers question the stereotypes and inequality in society through the female characters for the consumerist audience. Hence, these films attempt to break the chains of legitimated stereotypes in the society which create binaries in the lives of people. Practical Implications: The portrayal of illness in psychological thrillers has attracted a lot more audience to seats. Dissociative elements such as memory and identity of the mind perhaps have permeated the film-going experience. The paper showcases these aspects in the selected films. Originality/value: The picturization of the fading identity and the double personality of the characters are central to the interior experience. The capturing of Amnesia and its related themes of memory, identity, and distributed consciousness are common materials in recent films because they can stretch to basic humanistic concerns and contemporary psycho-social issues.

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Xiao, Ewen. "Male Intellectuals Gender Narratives in Chinese Left-Wing Films of the 1930s." Communications in Humanities Research 1, no. 1 (December 21, 2021): 34–39. http://dx.doi.org/10.54254/chr.iceipi.2021195.

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This paper analyzes the gender narratives in left-wing films produced during 1930s through the feminist perspective. Specifically, it explores male intellectuals gender narratives in these films and how these narratives act as an ideological resource that was instrumental in constructing the subject identity of the proletariat and the national identity under the background of Second Sino-Japanese War. Unlike male intellectuals that were depicted as the propagator of new ideas and the torchbearers of the masses during 1910s-1920s, male intellectuals in the left-wing films of 1930s predominantly featured as playing second fiddle to the proletariat and their dominant roles in the New Culture Movement began to diminish. Subsequently, male intellectuals within left wing cinema were featured as a group that needed to be changed and educated by the proletariat and too, were dependent on the proletariat for their cultural and moral liberation.

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Dissertations / Theses on the topic "Gender identity in motion films"

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Lam, Sze-man, and 林思敏. "All about sexuality: gender studies in Pedro Almodovar's films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29810784.

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Castillo, Gilbert Gerard. "Gender, Identity, and Influence: Hong Kong Martial Arts Films." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3354/.

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This project is an examination of the Hong Kong film industry, focusing on the years leading up to the handover of Hong Kong to communist China. The influence of classical Chinese culture on gender representation in martial arts films is examined in order to formulate an understanding of how these films use gender issues to negotiate a sense of cultural identity in the face of unprecedented political change. In particular, the films of Hong Kong action stars Michelle Yeoh and Brigitte Lin are studied within a feminist and cultural studies framework for indications of identity formation through the highlighting of gender issues.

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Crilly, Shane Alexander. "'Gods in our own world': representations of troubled and troubling masculinities in some Australian films, 1991-2001 /." Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09PH/09phc9291.pdf.

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Hartson, Mary T. "Masculinity in Spanish film from prohibition to commanded enjoyment /." Diss., Connect to online resource - MSU authorized users, 2008.

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Sapre, Manasi. "Memories of Motherland: Gender, Diaspora and National Identity in 1990s Indian Popular Culture." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3076/.

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This thesis examines the role of globalization, an open economy and diasporic experiences on the 1990s popular Indian culture, focusing on discourses of gender, national identity and family. Recent Indian beauty queens and international beauty contests are discussed in the context of gendered nationhood in 1990s India. Several popular films of the 1990s are discussed as narratives expressing longing for an extended family and a homogeneous national identity under the leadership of a traditional father figure. In contrast, independent films interrogate the primacy of ethnic and national identity and raise interesting questions about exilic experience. All of these forms of national and popular culture reflect the conflicting and ever-changing anxieties surrounding national identity and the role of women in India.

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Hwang, Yun Mi. "South Korean historical drama : gender, nation and the heritage industry." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1924.

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From the dynamic landscape of contemporary South Korean cinema, one trend that stands out is the palpable revival of the historical drama (known as the ‘sageuk’ in Korean). Since the early 2000s, expensive, visually striking, and successful costumed pieces have been showcased to the audience. Now rivalling the other mainstream genres such as gangster action, romantic comedy, and the Korean blockbuster, the sageuk has made an indelible impact on the national film industry. Even so, the cycle has yet to receive much critical attention. This thesis addresses the gap, driven by the question, what is the impetus behind the surge of the ‘historical’ witnessed in recent sageuk films? For this, I first take a diachronic view of the historical context of the genre, which later serves as the reference point for the genre memory. Adopting a synchronic approach, I then examine the industrial, political, and social contexts in Korea at the turn of the new century that facilitated the history boom. While national memory and transnational politics fuelled Koreans’ interest in their past, the popular media – cinema, television, publishing industry, and performance theatre – all capitalised on this drive. The government also took part by supporting the ‘culture content industry’ as a way to fashion an attractive national image and accelerate the cultural export system. Collectively, these efforts translated to the emergence of history as a commodity, carving a unique space for historical narratives in the national heritage industry. As such, different agents – the consumers, the industry, and the state – had their stakes in the national mobilisation of history and memory with competing ideological and commercial interests. Ultimately, the sageuk is the primary site in which these diverging aspirations and desires are played out. In chapters that follow, I engage with four main sub-types of the recent historical drama, offering textual and contextual readings. The main discussion includes the ‘fusion’ sageuk (Untold Scandal), the biopic (King and the Clown and Portrait of a Beauty), the heritage horror (Blood Rain and Shadows in the Palace), and the colonial period drama (Rikidozan, Blue Swallow and Modern Boy). While analysing the generic tropes and narrative themes of each film, I also pay attention to contemporary discourses of gender, and the cultural treatment of masculinity and femininity within the period setting. Such investigation, in turn, locates the place of the historical genre in New Korean Cinema, and thus, offers a much-needed intervention into one of the neglected topics in the study of cinematic trends in South Korea.

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楊舒恒. "戲裏戲外 : 香港六十年代國語電影女星的螢幕再現與現實生活 = Inside/outside the movies: Hong Kong Mandarin film actresses of the 1960s : their representations on screen and their real lives." HKBU Institutional Repository, 2008. http://repository.hkbu.edu.hk/etd_ra/926.

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Van, Niekerk Tanya. "'N Feministiese analise van animasiekarakters vanuit 'n feministiese benadering." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-10122004-135247.

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Romero-González, Tanya. "El enigma de Medem: Espacio, género y desdoblamiento en Vacas." Miami University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=miami1259193836.

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Choudhuri, Sucheta Mallick Kopelson Kevin Kumar Priya. "Transgressive territories queer space in Indian fiction and film /." Iowa City : University of Iowa, 2009. http://ir.uiowa.edu/etd/346.

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Books on the topic "Gender identity in motion films"

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Laing, Heather. The gendered score: Music and gender in 1940s melodrama and the woman's film. Aldershot, Hampshire, England: Ashgate, 2007.

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Laing, Heather. The gendered score: Music and gender in 1940s melodrama and the woman's film. Aldershot, Hampshire, England: Ashgate, 2007.

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3

Men, women and chainsaws: Gender in the modern horror film. London: British Film Institute, 1993.

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R, Smith Carol, ed. Gender, ethnicity and sexuality in contemporary American film. Chicago: Fitzroy Dearborn Publishers, 1997.

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Musical! sex!: La rappresentazione dei sessi nel musical hollywoodiano. Camucia (AR) Italy [i.e. Arezzo, Italy]: Tuttle, 2009.

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Bocchi, Pier Maria. Musical! sex!: La rappresentazione dei sessi nel musical hollywoodiano. Camucia (AR) Italy [i.e. Arezzo, Italy]: Tuttle, 2009.

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7

Nagelschmidt, Ilse. Geschlechtergedächtnisse: Gender-Konstellationen und Erinnerungsmuster in Literatur und Film der Gegenwart. Berlin: Frank & Timme, 2010.

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Geschlechtergedächtnisse: Gender-Konstellationen und Erinnerungsmuster in Literatur und Film der Gegenwart. Berlin: Frank & Timme, 2010.

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R, Lugo-Lugo Carmen, and Bloodsworth-Lugo Mary K, eds. Animating difference: Race, gender, and sexuality in contemporary films for children. Lanham, Md: Rowman & Littlefield, 2010.

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Beautell, Eva Darias. Canon disorders: Gendered perspectives on literature and film in Canada and United States. [Logroño, Spain?]: Universidad de La Rioja, 2007.

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Book chapters on the topic "Gender identity in motion films"

1

Samardžija, Zoran. "Female Transgression and Discontent in Barry Lyndon." In Gender, Power, and Identity in the Films of Stanley Kubrick, 250–58. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003208174-16.

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Colombani, Elsa. "Wendy Torrance and Alice Harford, Shrews Who Will Not Be Tamed1." In Gender, Power, and Identity in the Films of Stanley Kubrick, 217–32. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003208174-14.

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Louis, Stella. "A Feminist Kubrick?" In Gender, Power, and Identity in the Films of Stanley Kubrick, 131–45. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003208174-9.

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Melia, Matthew. "Old Age, Aging, and Fatherhood in Kubrick." In Gender, Power, and Identity in the Films of Stanley Kubrick, 291–307. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003208174-19.

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Potter, Amanda. "From Female Stereotypes to Women with Agency." In Gender, Power, and Identity in the Films of Stanley Kubrick, 67–85. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003208174-5.

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Pezzotta, Elisa. "Mothers Trapped between Law, Economy, Society, and Desire." In Gender, Power, and Identity in the Films of Stanley Kubrick, 118–30. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003208174-8.

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Baron, Cynthia. "Fear and Desire, Casual Misogyny, and 1950s Art House Cinema." In Gender, Power, and Identity in the Films of Stanley Kubrick, 86–102. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003208174-6.

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Jandrić, Andrej. "Kubrick and Bergman." In Gender, Power, and Identity in the Films of Stanley Kubrick, 259–75. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003208174-17.

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Metlić, Dijana, and Karen A. Ritzenhoff. "Sue Lyon and the Consequences of the “Lolita Look”." In Gender, Power, and Identity in the Films of Stanley Kubrick, 32–50. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003208174-3.

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Murphet, Julian. "Violence and Power in Kubrick's Later Cinema." In Gender, Power, and Identity in the Films of Stanley Kubrick, 233–49. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003208174-15.

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