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Journal articles on the topic 'Gender identity in motion films'
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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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Woodward, Suzanne. "Being both: Gender and indigeneity in two Pacific documentary films." Pacific Journalism Review 21, no. 2 (October 31, 2015): 63. http://dx.doi.org/10.24135/pjr.v21i2.117.
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Transgender is a term originating from a particularly Western discourse of restrictive gender identity that struggles to account for diverse gender identities. Several non-Western cultures, however, especially indigenous cultures, have quite different and varied understandings of gender. Diverse approaches to gender have been framed through dominant Euro-Christian discourses as deviant, immoral and inferior—part of the dangerous alternative knowledge of indigenous cultures that colonialism worked so hard and so violently to eradicate. It is only recently that non-dominant gender discourses have begun visibly and vocally to re-assert themselves as viable and valuable alternatives to the orthodox narratives of pathology and deviance dominating Western gender discussions. The development of an alternative and more celebratory approach to gender diversity can be perceived through two notable documentary films from the Pacific: Georgie Girl (Goldson & Wells, 2002) and Kumu Hina (Hamer & Wilson, 2014). Rather than starting from a position that sees gender variance as a depressing problem, these stories offer the possibility of re-appropriating transgender as not only normal, but precious.
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Riabov, Oleg. "Symbolic boundaries in the politics of Soviet identity: gender dimension (On the materials on the Great Patriotic War’s cinema)." Woman in russian society, no. 2 (June 30, 2020): 10–25. http://dx.doi.org/10.21064/winrs.2020.2.2.
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Using the boundary approach, the paper dwells upon the role of gender discourse in politics of the Soviet identity in the time of the Great Patriotic War. In the beginning, it discusses what role symbolic boundaries created with help of gender discourse play in politics of identity. Then, the essential traits of politics of Soviet identity are examined on the material of the film “Circus” (1936). Finally, the paper focuses on utilizing the gender discourse by cinema of the Great Patriotic War. It investigates how the films used the representations of femininity in such directions of the politics of the Soviet identity as producing the images of “us” and forming the feeling of belonging to the political community; providing the national unity through weakening internal symbolic boundaries; strengthening external symbolic boundaries and forming negative identity through constructing the images of “them” — the women of Nazi Germany. The author comes to the conclusion that the boundary approach has significant heuristic potential and may be employed in Gender Studies.
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Bekemeier, Holger, Jonathan Maycock, and Helge Ritter. "What Does a Hand-Over Tell?—Individuality of Short Motion Sequences." Biomimetics 4, no. 3 (August 7, 2019): 55. http://dx.doi.org/10.3390/biomimetics4030055.
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How much information with regard to identity and further individual participantcharacteristics are revealed by relatively short spatio-temporal motion trajectories of a person?We study this question by selecting a set of individual participant characteristics and analysingmotion captured trajectories of an exemplary class of familiar movements, namely handover of anobject to another person. The experiment is performed with different participants under different,predefined conditions. A selection of participant characteristics, such as the Big Five personalitytraits, gender, weight, or sportiness, are assessed and we analyse the impact of the three factor groups“participant identity”, “participant characteristics”, and “experimental conditions” on the observedhand trajectories. The participants’ movements are recorded via optical marker-based hand motioncapture. One participant, the giver, hands over an object to the receiver. The resulting time courses ofthree-dimensional positions of markers are analysed. Multidimensional scaling is used to projecttrajectories to points in a dimension-reduced feature space. Supervised learning is also applied.We find that “participant identity” seems to have the highest correlation with the trajectories, withfactor group “experimental conditions” ranking second. On the other hand, it is not possible to find acorrelation between the “participant characteristics” and the hand trajectory features.
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Hudson, Seán. "A Queer Aesthetic: Identity in Kurosawa Kiyoshi's Horror Films." Film-Philosophy 22, no. 3 (October 2018): 448–64. http://dx.doi.org/10.3366/film.2018.0089.
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Judith Butler argues that every category of personal identity, such as gender, the body, nationality, sexuality, or ethnicity, is predicated in part on a crisis between what that identity affirms and what it excludes. How this crisis manifests itself in everyday life is key to understanding how identities are reinforced, negotiated, subverted, or rejected on both social and individual levels. In this paper I consider three films directed by Kurosawa Kiyoshi between 2001 and 2006, arguing that they are especially competent in not only representing ontological tensions of this kind within their narratives, but also in manifesting these tensions so that they are made viscerally available to the viewer as affect. To understand how this is achieved, I draw on the work of Susan Sontag, Judith Butler, and Gilles Deleuze and Félix Guattari, among others, to articulate how a stylistic system, or aesthetic, is developed across these films, and what techniques contribute to its production. I find that key components of this aesthetic include images of touch and performance, the transgression of bodily boundaries, and what Margrit Shildrick calls an “erotics of connection” between bodies.
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Patterson, G., and Leland G. Spencer. "What’s so funny about a snowman in a tiara? Exploring gender identity and gender nonconformity in children’s animated films." Queer Studies in Media & Popular Culture 2, no. 1 (March 1, 2017): 73–93. http://dx.doi.org/10.1386/qsmpc.2.1.73_1.
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Puysségur, Marie. "Space, Gender, and Identity in Sciamma's Girlhood and Arnold's Fish Tank." Girlhood Studies 13, no. 1 (March 1, 2020): 117–32. http://dx.doi.org/10.3167/ghs.2020.130109.
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In this article, I explore the use of space in Andrea Arnold’s Fish Tank and Céline Sciamma’s Bande de Filles, two films that depict the experiences of 15-year-old girls in a British housing estate and a Parisian banlieue respectively. The spatial motifs related to identity that circulate throughout the films establish a regime of flux, ambiguity, and reversibility that contributes to a depiction of female adolescence as unfixed and unsettled. I argue that both films, in their focus on the lived experience of their protagonists, investigate the landscape of economically and socially peripheral spaces to develop a specifically female approach to contemporary coming-of-age narratives that takes into account the difference that gender makes.
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Paterson, H. M., Y. Ma, and F. E. Pollick. "A library of human movements for the study of identity, gender and emotion perception from biological motion." Journal of Vision 5, no. 8 (September 1, 2005): 937. http://dx.doi.org/10.1167/5.8.937.
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Charitonidou, Marianna. "Gender and Migrant Roles in Italian Neorealist and New Migrant Films: Cinema as an Apparatus of Reconfiguration of National Identity and ‘Otherness’." Humanities 10, no. 2 (April 21, 2021): 71. http://dx.doi.org/10.3390/h10020071.
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The article examines an ensemble of gender and migrant roles in post-war Neorealist and New Migrant Italian films. Its main objective is to analyze gender and placemaking practices in an ensemble of films, addressing these practices on a symbolic level. The main argument of the article is that the way gender and migrant roles were conceived in the Italian Neorealist and New Migrant Cinema was based on the intention to challenge certain stereotypes characterizing the understanding of national identity and ‘otherness’. The article presents how the roles of borgatari and women function as devices of reconceptualization of Italy’s identity, providing a fertile terrain for problematizing the relationship between migration studies, urban studies and gender studies. Special attention is paid to how migrants are related to the reconceptualization of Italy’s national narrations. The Neorealist model is understood here as a precursor of the narrative strategies that one encounters in numerous films belonging to the New Migrant cinema in Italy. The article also explores how certain aspects of more contemporary studies of migrant cinema in Italy could illuminate our understanding of Neorealist cinema and its relation to national narratives. To connect gender representation and migrant roles in Italian cinema, the article focuses on the analysis of the status of certain roles of women, paying particular attention to Anna Magnagi’s roles.
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Lederer, Jenny. "Gesturing the source domain." Metaphor and the Social World 9, no. 1 (May 20, 2019): 32–58. http://dx.doi.org/10.1075/msw.17016.led.
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Abstract Gesture is aptly described as a “backdoor” to cognition (Sweetser, 2007, p. 203). Co-speech gesture has been shown to aid in the representation of abstract concepts (Parrill & Sweetser, 2004) and, specifically, encode metaphorical source domains (Cienki, 1998). This paper examines how co-speech gesture aligns with spoken and written narrative to support a spatially based representation of gender identity. Repeated gestural patterns include inward facing palms used to mime fictive category boundaries, gestural mapping of motion across metaphorical gender regions, manual deictic reference to interior and exterior self, and distancing from past gender assignment signaled through emblematic scare quotes. The data examined in this paper confirm the important role gesture plays in supplementing the instantiation of the metaphorical models that organize transgender speakers’ experience with and discussion of gender and transition.
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Akser, Murat. "Memory, Identity and Desire: A Psychoanalytic Reading of David Lynch’s Mulholland Drive." CINEJ Cinema Journal 2, no. 1 (December 7, 2012): 58–76. http://dx.doi.org/10.5195/cinej.2012.58.
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This is a reading of David Mulholland Drive through psychoanalytic approach of Lacan from the perspective of formation of fantasy and shifting identities. Lynch constructs his films consciously choosing his themes from the sub(versive/conscious) side of human mind. Previous attempts to read Lynch's films are fixed around the idea that Lynch is using film genres to create postmodern pastiches. Mulholland Drive has been analyzed several times from different approaches ranging from gender (Love, 2004), narratology (Lentzner, 2005; McGowan, 2004; Cook, 2011). Elements of film noir, musical, caper films can be identified in Lynch’s films. This detailed textual analysis intends to rationalize Lynch’s narrative structure through Lacanian terms in reference to Zizekian terminology.
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Aggarwal, Ashish. "Critiquing the Motion (Cinema) through Queer Lens." International Journal of English Literature and Social Sciences 7, no. 5 (2022): 058–61. http://dx.doi.org/10.22161/ijels.75.9.
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Films are one of the most powerful tools and medium in the present times to convey certain set of ideology by keeping people intact and hooked to the screens. People can easily empathize and sympathize seeing movies as, one can relate well by understanding the inherent grammar or language of the film by connecting it to the reality. The paper here will try to form a bridge between the Queer Studies and Film Theory. The term Queer in itself stands for something weird and abhorred. It stands for the people of the alternative sexualities who do not fall into the bracket of binaries. Thus, queer in this way becomes an umbrella term to unite all these identities and is a creation of a new form or a new language to bring the wind of change in the lives of people who are marginalized since ages. In this way queer here also becomes a symbol of hope and stands for multiplicity of desires and identities. The movies taken here for research purpose Chandigarh Kare Aashiqui (2021) and Badhai Do (2022) both are recent films which talk about the queering of cinema and toppling down the accepted normal gender roles in the films. Both the movies try to create an alternative structure and vision for the public, broadening the horizon of expectations.
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Harrod, Mary. "From postnational mobility to posthuman fluidity: Unfixed identities and social responsibilities in Personal Shopper (Assayas, 2016) and Happy End (Haneke, 2017)." Northern Lights: Film & Media Studies Yearbook 18, no. 1 (January 1, 2020): 85–101. http://dx.doi.org/10.1386/nl_00015_1.
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Abstract This article approaches contemporary European cinema as transnational cinema from an angle informed by gender and sexuality studies. It is underpinned by a fluid conception of identity, which it identifies with its objects of study, in terms of production context, market positioning and also form and theme. Specifically, I approach comparatively the embrace of postnational textual identity alongside posthuman ‐ especially post-gender ‐ characterization by two of the most visible recent European auteur films, Olivier Assayas' Personal Shopper (2016) and Michael Haneke's Happy End (2017). I consider the ideological implications of the narratives' explorations of immorality in a contemporary western context marked in both films by the breakdown of communication and a related failure of ethical responsibility, often constellated in relation to technological advancement. The article draws on the Continental theories of Slavoj Žižek and to a lesser extent Jean Baudrillard and Zygmunt Bauman to illuminate the extent to which these films' subtle and conflicted yet tenaciously enduring nostalgia for earlier ideals of European community is discernible via or inseparable from regret at the loss of an imagined 'natural' mode of embodiment, including more traditional gender roles. It finally reflects briefly on the related question of the attitudes towards European cinema itself, as well as cinemas associated with the past more generally, which these films display and invite the audience to share.
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Davis, Donna, and Shelby Shelby. "The Machine as an Extension of the Body: When Identity, Immersion and Interactive Design Serve as Both Resource and Limitation for the Disabled." Human-Machine Communication 2 (January 15, 2021): 121–35. http://dx.doi.org/10.30658/hmc.2.6.
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This research explores how the technological affordances of emerging social virtual environments and VR platforms where individuals from an online disability community are represented in avatar form, correspond to these users’ development of embodied identity, ability, and access to work and social communities. The visual attributes of these avatars, which can realistically reflect the user’s physical self or divert from human form entirely, raise interesting questions regarding the role identity plays in the workplace, be it gender, race, age, weight, or visible disability. Additionally, the technology itself becomes fundamental to identity as the increasing use of artificial intelligence (AI), motion capture, and speech-to-text/text-to-speech technologies create digital capabilities that become part of an individual’s identity. This raises further questions about how virtual world technologies can both increase and potentially create barriers to accessibility for individuals who find freedom in their technologically embodied surrogates.
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Westcott, Clare N. "Alterity and Construction of National Identity in Three Kristen Bjorn Films." Journal of Homosexuality 47, no. 3-4 (September 15, 2004): 189–96. http://dx.doi.org/10.1300/j082v47n03_11.
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Díaz Zanelli, José Carlos. "Building Muxeninity: Identity, gender/native performance and family in three documentaries." Studies in Spanish & Latin-American Cinemas 18, no. 3 (September 1, 2021): 297–315. http://dx.doi.org/10.1386/slac_00057_1.
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In recent years, several audio-visual productions have portrayed the gender system of Juchitán (Oaxaca, Mexico), focusing in particular on muxes, a third-gender community. Many of these productions use exoticization to expose specific muxe characteristics that are founded on a centuries-long legacy within the Zapotec civilization. Based on queer theory and a close reading of specific scenes, this article examines three documentaries: Muxes:Auténticas, Intrépidas buscadoras de peligro/Muxes: Authentic, Intrepid Seekers of Danger (Islas 2005), muxes (Olita 2016) and muxes (Schwarz 2017). This analysis shows how these films represent the process of gendered identity construction of the muxe community, as well as their connections with indigeneity and problematic family interactions.
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Khan, Qaisar, Sher Akbar, and Javeria Zafar. "Analysis of Audiences' uses and Gratifications in the Selected Pakistani Urdu Films." Global Regional Review VII, no. II (June 30, 2022): 11–23. http://dx.doi.org/10.31703/grr.2022(vii-ii).02.
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This exploratory study unfolds Socio-psychological problems, and their impacts on youth through post-2000. Four Pakistani selected Urdu films as Shoaib Mansoor's Bol (2011), Jilani’s Chambaili(2013), Khuda Kay Liye (2007), and Bilal Lashari’s Waar (2013). The study locates these films in their broader frame of socio-psychological dynamics to grapple with the production of gender relations along with the articulation of identity. Furthermore, the study vigorously tends to disclose consumption effects and influences of identity, entertainment, socialization, surveillance, and cinematic techniques observed in the films by Pakistani youth in fulfilling their desires of gratification. This study uses quantitative research methods by applying a Cross-sectional survey approach. The convenient sampling was used to sample size N=371 among the population of the capital city of Islamabad. It was found that Pakistani youth broadly identify themselves with the national identity depicted in the films.The cinematic techniques used for the production of socialization gratified youth to some extent. The study recommends that the national film Industry should come up with socio-political realities-based cultural productions.
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Wardaniningsih, Agustin Diana, and E. Ngestirosa Endang Woro Kasih. "DELINEATION OF WOMEN IDENTITY IN THE DISNEY ANIMATED FILM ECANTO (2019)." Lire Journal (Journal of Linguistics and Literature) 6, no. 2 (October 31, 2022): 209–29. http://dx.doi.org/10.33019/lire.v6i2.160.
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Disney's animated films is produced not only to provide entertainment but also to deliver messages in it. Most Disney animated films have a target audience of children. The element of persuasion that includes every message will be one of children's character-building in real life, including how the film constitutes gender identity in children, which will affect the development of their lives. One of Disney's animated films is Encanto film which was released in 2021. The purpose of this research is to describe the moral values of the characters in Encanto film, especially observing the identity of the women depicted in this film. The research method uses a qualitative narrative approach to analyze Encanto film. This study uses Stuart Hall's representation theory and Christian Metz's Semiotic Analysis Method (MAS), or cinematographic semiotics. By the critical paradigm, this MAS is qualitatively interpretive. A method that focuses on signs and texts as objects of study and how researchers interpret and understand the code (decoding) behind the signs and texts. The study revealed the women's identity on the main character, Mirabel in the film Encanto. This identity is mainly found from the stereotypical Mirabel identity as a woman. The other marginalization, subordination, power, and workload differentiate Mirabel’s identity as a woman from men in Encanto film
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Carrasco Carrasco, Rocío. "Alien Invasions and Identity Crisis: Steven Spielberg’s The War of the Worlds (2005)." Revista Alicantina de Estudios Ingleses, no. 29 (November 15, 2016): 7. http://dx.doi.org/10.14198/raei.2016.29.01.
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The idea of national identity as threatened by foreign invasions has been at the centre of many popular Science Fiction (SF) films in the United States of America. In alien invasion films, aggressive colonisers stand for collective anxieties and can be read “as metaphors for a range of perceived threats to humanity, or particular groups, ranging from 1950s communism to the AIDS virus and contemporary ‘illegal aliens’ of human origin” (King and Krzywinska, 2000: 31-2). Such films can effectively tell historical and cultural specificities, including gender concerns. In them, the characters’ sense of belonging to a nation is destabilised in a number of ways, resulting in identity crisis in most cases. A fervent need to defend the nation from the malevolent strangers is combined with an alienation of the self in the search of individual salvation or survival.The present analysis will attempt to illustrate how threats to configurations of power are employed in a contemporary alien invasion film: The War of the Worlds (Steven Spielberg, 2005). Specifically, the film takes the narrative of destruction to suggest the destabilisation of US national power within the context of post September 11, together with a subtle disruption of the gender and sexual status quo. Indeed, new ways of understanding masculinity and fatherhood assault both the public and the private spaces of its white male heterosexual protagonist, Ray, performed by popular actor Tom Cruise. Ambiguous patriotism, identity crises and selfishness are at the core of this contemporary version of H.G. Wells’s landmark novel.
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Afifulloh, M. "The Representation of Fatherhood Identity on Netflix Cinema." Pioneer: Journal of Language and Literature 14, no. 1 (June 30, 2022): 298. http://dx.doi.org/10.36841/pioneer.v14i1.1713.
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This study aims to investigate how a man constructs his masculinity stereotype as a father and caregiver as represented in the original Netflix’s Fatherhood. This research is qualitative with Stuart Hall's Perspectives of Representation as an approach. This perspective is to find the meaning of American fatherhood as represented in the film and to explore how the meaning of fatherhood significantly affects the global meaning of transnational communication in media. Qualitative means that a film as well as text is read from its language, image, and other aspects such as color, lighting, composition, articulation details, and role positions are taken consideration in finding meaning. The results of the study show that the fatherhood concept symbolizes ideal masculinity, anti-thesis of traditional masculinity, develops hybrid masculinity, rejects femininity as well as hegemonic masculinity, and pro-gender equality. In conclusion, the fatherhood concept inspires non-America films such as Indonesian and Indian films. This research proves that a film is made not only for economic aspects or a visual product that is intended to entertain the audience, but a film is a text that can be read, evaluated, and analyzed in depth through various approaches since a film represents a reality.
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Lang, Ariella. "From Boys to Men: Gender Politics and Jewish Identity in A Serious Man." AJS Review 35, no. 2 (November 2011): 383–91. http://dx.doi.org/10.1017/s036400941100047x.
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Like many of their films, the Coen brothers' A Serious Man at once portrays a society dominated by men and calls into question what it is to be a man, especially but not exclusively a Jewish man. Indeed, while Larry Gopnik's wife is the source of much of his trouble, she, like her unmanageable daughter and the seductress-neighbor—the only women characters in the film—occupies minimal space in the narrative. But the role of the female, or the characteristics that differentiate men from women, occupy maximal space in the narrative: They are incorporated throughout the film in Gopnik's behaviors, in parodies of those behaviors, and in stereotypes of Jewish men, and non-Jewish men for that matter, that have a lengthy history in American television and film and in Western, Christian culture more generally. And so we find the central irony of A Serious Man, which is the presence of the female restricted to an indirect “male” presence that articulates the problem of male Jewish identity as it is construed and challenged in the context of American suburban life.
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Liang, Jichen. "Gender Stereotype and Position of Women in the 19th Century America." BCP Social Sciences & Humanities 20 (October 18, 2022): 131–35. http://dx.doi.org/10.54691/bcpssh.v20i.2175.
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This article is about the movie Little Women (2019), which is produced by Colombia Pictures, Regency Enterprises and Sony Pictures, and has won many awards such as Young Artist Award and Best Family Motion Picture. This movie is mainly about the main character Jo, a writer that does not want to get married, and her family, Amy, Meg and Beth. It reflects the truth and the society of the 19th Century America, expressing the impacts made by these situations at that time. Therefore, this movie mainly discusses women’s position through film production, which brings a positive impact on later films while discussing about women’s positions and gender stereotype.
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Sheikh, Adnan Rashid, Faisal Rashid Sheikh, Shaukat Khan, and Athar Rashid. "Discursive Construction of New Female Identity in Latest Hollywood Blockbuster Movies." International Journal of English Linguistics 10, no. 1 (December 28, 2019): 265. http://dx.doi.org/10.5539/ijel.v10n1p265.
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This study analyses the emergence of female portrayal in latest Hollywood superhero movies, after the #MeToo global movement about awareness of sexual harassment. This research adopts a qualitative approach in analysing the constructs of doing and undoing gender in blockbuster movies by Marvel and DC comics. This study seeks to explore the shift towards discursive and screen empowerment of female lead and supporting characters. Such movies serve as a barometer of the cultural and social milieu and hence project how women can display range of capabilities, independence and emotional strength on screen, so to pave the way for viewers. The premise of this paper is rooted in events following 9/11 and how blockbuster films helped in social uplifting by showing solutions till date. All such attempts of social restorations were led by all-male teams of superheroes, the events in recent couple of years are looking quite different. The discussion is rooted in transition from Zimmerman’s idea of ‘doing gender’ (1997), for social conformity, to Deutsch’s proposal of ‘undoing gender’ (2007), where females adopt a powerful position and voice. This approach resonates with latest, or fourth wave, of feminism. The emergence of able-minded stronger women is taking over and shaping new Man, a flexible, emotional and imperfect male. The paper also glimpses into other genres and studios’ movies of the recent times to find signs of change.
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Fine, Zoe D. "Green, David Gordon (Director). (2018). Halloween [Motion picture]. 2018. United States: Miramax, Blumhouse Productions, Trancas International Films, Rough House Pictures." Women's Studies in Communication 43, no. 3 (July 2, 2020): 324–26. http://dx.doi.org/10.1080/07491409.2020.1803655.
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Pearce, Sharyn. "Sex Education, Hollywood Style: Gender, Sexuality and Identity in The Girl Next Door." Papers: Explorations into Children's Literature 16, no. 1 (January 1, 2006): 33–40. http://dx.doi.org/10.21153/pecl2006vol16no1art1243.
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In lieu of abstract, here is the first paragraph of the article: Commentators as diverse as Henry Giroux (1989; 1994; 1997; 2002), David Buckingham (2003), Cameron McCarthy (1998; 1999) and Peter McLaren (1994; 1995) have contributed towards an understanding of how popular cultural texts such as films, television, music and magazines help to shape young people’s worlds, and how they exist as pedagogical sites where youth learn about the world. The respected ethnographer and cultural theorist Paul Willis, for example, argued some time ago that popular culture is a more significant, penetrating cultural force in young people’s lives than schooling: The field of education ... will be further marginalised in most young people’s experience by common (i.e. popular) culture. In so far as the educational practitioners are still predicated on traditional liberal humanist lines and on the assumed superiority of high art, they will become almost totally irrelevant to the real energies and interests of most young people and have no part in their identity formation. Common culture will, increasingly, undertake, in its own ways, the roles that education has vacated. (Willis 1990, p.147) More recently still, Nadine Dolby has claimed that popular culture is not simply fluff that can be dismissed as irrelevant and insignificant; on the contrary, ‘it has the capacity to intervene in the most critical issues and to shape public opinion’ (Dolby 2003, p.259).
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Glenn, Clinton. ""We are the new Lithuania"." lambda nordica 25, no. 3-4 (April 26, 2021): 54–78. http://dx.doi.org/10.34041/ln.v25.708.
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In the Baltic States, LGBT representation in the media is limited at best. While LGBT activism continues to gain support and visibility, LGBT characters are considerably less common on film and television, and only Lithuania has produced films with openly gay or lesbian characters in main roles. This stands in contrast to the tendency in Baltic media and politics to lay claim to Nordic values and to identify as Northern European rather than Eastern European. In this paper I examine how two Lithuanian films grapple with identity and place in their depictions of gay characters. Porno Melodrama (Romas Zabarauskas, 2011) follows a gay couple as they are forced to choose between nationalistic homophobia and fleeing to “safer” cities in Western Europe. Nuo Lietuvos Nepabėgsi (You Can’t Escape Lithuania, Romas Zabarauskas, 2016) features a fictionalised version of its director in a meta-narrative meditation on the meaning of cinema as well as the place of queerness in the “new” Lithuania. In this article I interrogate how sexual and national identity are placed in contra-distinction to one another in the two films by Romas Zabarauskas: in Porno Melodrama, where gay identity is met with violent retribution; and in You Can’t Escape Lithuania, where queerness serves as a critique of the underlying foundations of gender, sexuality and nationalist narratives of belonging. I critique Western conceptions of homonormativity and homonationalism, where their problematic mapping onto a Baltic context fails to take into account the diverging reality in which neoliberalism has not been accompanied by more inclusive attitudes to sexual and gender diversity.
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Dhaenens, Frederik. "How queer is ‘pink’ programming? On the representational politics of an identity-based film program at Film Fest Gent." Sexualities 21, no. 5-6 (June 5, 2017): 793–808. http://dx.doi.org/10.1177/1363460717699780.
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International film festivals (IFFs) are increasingly taking an interest in offering programs that target LGBT audiences. Since this practice can be understood as an emancipatory and commercial strategy, this article examines the implications of this ambiguity within an IFF’s politics of representation. Drawing on the results from a textual and contextual analysis of the films and programming strategies of the 2014 Film Fest Gent in Belgium, this article argues that an IFF has the potential to engage in moderately queer programming. By offering an identity-based program that makes room for alternative and critical negotiations of identity and intimacy and that looks for ways to offer LGBT content to diverse audiences in various settings, this festival demonstrates how programming LGBT content can be a critical and commercial success without having to rely on homonormative tropes and practices.
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Iglesias-Díaz, E. Guillermo. "Trans-gendering the Irish Na(rra)tion: Neil Jordan’s Breakfast on Pluto." Estudios Irlandeses, no. 17 (March 17, 2022): 77–89. http://dx.doi.org/10.24162/ei2022-10689.
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Occupying a relegated position as it does in Neil Jordan’s filmography, it is my contention that Breakfast on Pluto is one of his most transgressive films. Not only does it cross the most evident boundaries of heteronormative gender roles by giving a transvestite the central position in the story, but also blends film genres as a way of vindicating hybridisation at all levels, challenging other modern categorisations as those informing Irish national identity. Thirteen years after The Crying Game (1992) was released, Irish filmmaker Neil Jordan returns to the intersectional issues of gender and national identity in his adaptation of Patrick McCabe’s novel Breakfast on Pluto (1998). However, apart from the presence of a transvestite and the shadow of sectarian violence looming throughout the narrative, these films have little else in common: the dull, grey atmosphere of an obscure drama involving kidnap and murder by the IRA in The Crying Game contrasts sharply with the bright colours, ironic drive and parody in Breakfast on Pluto, a story about growing up in Ireland as an orphan transvestite who yearns for romantic true love. Moreover, while Jordan’s first feature film was defined as a romantic drama with thriller hues, Breakfast moves between comedy and drama, the bildungsroman and the melodrama. This generic ambivalence goes hand in hand with Jordan’s transgressing approach to the question of gender and national identity as a strategy to challenge fixed understandings of those labels as natural and given and, for that reason, the violence inflicted on the main character (and, by extension, on any Other body that does not fit those categories).
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Irimiás, Anna. "Missing Identity: Relocation of Budapest in Film-induced Tourism." Tourism Review International 16, no. 2 (November 1, 2012): 125–38. http://dx.doi.org/10.3727/154427212x13485031583902.
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The Hungarian capital city has been the protagonist or at least the supporting actress of numerous feature films; however, Budapest cannot be identified with a unique image to promote herself in film-induced tourism. The visual representations of the city's symbolic economy play an important role in the creation of place identity. The purpose of this study is to analyze the identity of Budapest and its cultural landscape depicted in international and Hungarian movie productions. The article highlights the consequences of this specific use of the urban place and how these images can influence Budapest's role in film tourism. In order to explore the potential of Budapest in the film tourism niche market, an analysis of tourists' perception of the capital city and tourists' attitude towards film-induced tourism was undertaken. The results of the visitor survey show that international tourists staying in Budapest would be interested to discover the film locations in the city; however, they were not able to link the titles of films set in Budapest to the real film location. Hosting international film productions clearly has a positive impact on the economy as a whole, but tourism destination marketing cannot benefit from the motion pictures' success when Budapest interprets somewhere else.
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Hosek, Jennifer Ruth. "Buena Vista Deutschland: Nation and Gender in Wenders, Gaulke and Eggert." German Politics and Society 25, no. 1 (March 1, 2007): 46–69. http://dx.doi.org/10.3167/gps.2007.250103.
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The years following the fall of the Berlin Wall saw a wave of interest in a far away nation now largely independent of Soviet influence: Cuba. The three documentary fims that this article treats are a part of this "Cuba wave." Yet, as I argue here, more than simply tales of the Caribbean, Buena Vista Social Club by Wim Wenders and Havanna mi amor and Heirate mich! by Uli Gaulke and Jeannette Eggert are ciphers for competing and unpopular discourses surrounding German (re)unification. As sanctioned narratives of the Germanies increasingly ossify, these films articulate obscured and agonistic visions of national identity in the Berlin Republic.
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Portuges, Catherine. "The Third Generation: Hungarian Jews on Screen." Hungarian Cultural Studies 2 (January 1, 2009): 11–17. http://dx.doi.org/10.5195/ahea.2009.21.
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The post-Cold War era, with its redrawn European topographies and renegotiated political and cultural alliances, has witnessed the return of Central European Jews to the screen in fiction features, documentary and experimental films, and new media. A younger generation of filmmakers devoted to speaking out on the Holocaust and its aftermath is opening vibrant new spaces of dialogue among historians, literary and scholars, as well as within the framework of families and audiences. By articulating unresolved questions of Jewish identity, memory and history, their work both extends and interrogates prior narratives and visual representations. My presentation compares recent films by several filmmakers with regard to the contested meanings of Jewish identity; issues of gender and the filmmaker’s voice and subject position; the contextualization of historical evidence; and innovative modes and genres of cinematic representation.
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Nighman, Emily. "Orientalist Stereotypes and Transnational Feminisms in Disney’s 1998 and 2020 Mulan." Film Matters 12, no. 3 (December 1, 2021): 96–108. http://dx.doi.org/10.1386/fm_00179_1.
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The Walt Disney Company is immensely influential around the globe, but in the near future, the world’s largest film market will reside in China rather than the United States. It is thus important to examine how Disney’s 1998 Mulan and its 2020 remake contribute to the advancement and oppression of Chinese/Americans within Hollywood. This paper will compare both films by analyzing each film’s casts and crews, reception in the global film market, critical responses, treatment of racial and gender identity within each narrative, and the sociohistorical contexts in which the films were produced.
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Qi, Pan. "Identity Shaping: Women's identity and gender Dilemma under the Shackles of social expectations -- From The films Kim Ji-young born in 1982 and My Sister." Film，Television and Theatre Review 2, no. 1 (2022): 83–86. http://dx.doi.org/10.35534/fttr.0201013.
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Sambuco, Patrizia. "Food Consumption in Ferzan Ozpetek’s Hamam and Luca Guadagnino’s Io sono l’amore: A Gender Issue." Quaderni d'italianistica 37, no. 2 (January 27, 2018): 173–90. http://dx.doi.org/10.33137/q.i..v37i2.29234.
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Within the wide range of scholarly works on food studies, the topic of food and cinema has gained increasing attention in recent years. This article contributes to the discussion offering a gender perspective in the analysis of Italian films. It examines cinematic representations of food consumption in Ferzan Ozpetek’s Hamam and Luca Guadagnino’s Io sono l’amore. Food consumption is a means of looking at self-identity and the relationship of the individual to the outside world. Eating implies taking part of the outside world inside, and as such it involves not only nutrition for the body but invests the subject with cultural meanings. As a result, the analysis of food consumption lends itself to an examination of cultural gender dynamics that influence representations. Through a gender reading of specific scenes, the article argues that in spite of the apparent representations of independent, successful female protagonists who dare to challenge social conventions, the films considered contribute to the reinforcement of traditional gender constructions. Claude Fischler’s and Pasi Falk’s theories of food consumption help to uncover how the sensory and aesthetic dimensions prevail in the representations of the women protagonists of the films analysed. The female protagonists’ relationship to the outside world remains an individual one, experienced at the sensory level, that cannot express the radical and collective transformations available to the male protagonists.
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Piontek, Thomas. "‘Clothes (don’t) make the man’: Fashioning the phallus in Sabine Bernardi’s Romeos." Fashion, Style & Popular Culture 00, no. 00 (September 13, 2022): 1–10. http://dx.doi.org/10.1386/fspc_00150_1.
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German director Sabine Bernardi’s Romeos presents a progressive and more complete view of transgender experience than a previous generation of films on the subject. Skilfully avoiding outdated tropes in her representation of the female-to-male (FTM) trans man Lukas’s transition, the film instead places it in a cultural and sociopolitical context that shows him confronting ‘cultural cisgenderism’ and negotiating the medicalization of his ‘condition’ to obtain the mastectomy he wants. Romeos, however, does not posit surgical intervention as the central element in its protagonist’s transition but shows how gender identity and expression are conceived internally, independently of the individual’s embodiment. Thus, this article argues that the developing maleness and masculinity that Lukas exhibits demonstrates that there exists a significant difference between the penis and the phallus. Lukas is able to ‘fashion the phallus’ – what social psychologists have called a ‘cultural genital’ – with a combination of appearance (including his fashionable male attire), hormone therapy and a strict workout regime. Even though a male genital may not be present in a physical sense, the significance attributed to his cultural genital allows Lukas to express his psychic gender identity and to establish the trans man, in the words of one gender theorist, as ‘attractive, appealing, and gendered while simultaneously presenting a gender at odds with sex, a sense of self not derived from the body’. Still the discrepancy between his gender identity and his embodiment at times causes considerable problems for Lukas, especially when his love interest, the cisgender Fabio, accidentally finds out that Lukas is trans and questions his physical genital. That Lukas nonetheless manages to establish himself as a desiring subject capable of establishing a romantic relationship with Fabio and consummating it by having sex with him bespeaks the power of self-definition and the significant role that the cultural genital plays in this process.
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Torricelli, Emily. "Multicultural Glasgow." Alphaville: Journal of Film and Screen Media, no. 13 (July 20, 2017): 90–104. http://dx.doi.org/10.33178/alpha.13.05.
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In films, even contemporary ones posing alternatives to the mythic representations of Scotland, Scottish identity is often constructed as homogeneous and white. Though a small number of films have been made addressing Scotland’s white minority groups, it is not until the 2000s that filmmakers such as Ken Loach and Pratibha Parmar began to explore non-white Scottish identities. This article explores the ways the former’s Ae Fond Kiss… (2004) and the latter’s Nina’s Heavenly Delights (2006) construct hybrid, plural Scottish identities by first considering the way the two films construct these identities, and then by considering the how the identities constructed were received by film critics. Ae Fond Kiss… suggests that racial and ethnic minorities understand “Scottishness” in varied ways that are often influenced by gender, whereas, for Nina’s Heavenly Delights, race, gender, and sexuality are some of the many identities that are united in the Scottish nation. In support of the plural and hybrid Scotlands these two films construct, film critics, despite the complications of genre, strongly label both as Scottish films, which suggests they understand Scotland as a diverse or hybrid place or culture.
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Lieberman, Evan. "Mask and Masculinity: Culture, Modernity, and Gender Identity in the Mexican Lucha Libre films of El Santo." Studies in Hispanic Cinema 6, no. 1 (December 1, 2009): 3–17. http://dx.doi.org/10.1386/shci.6.1.3/1.
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Bui, Long. "Heteroglossia of History." Journal of Vietnamese Studies 14, no. 4 (2019): 1–39. http://dx.doi.org/10.1525/vs.2019.14.4.1.
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This article considers state-funded films in contemporary Vietnam and the legacy of the Republic of Vietnam (South Vietnam), which fell to communist forces in 1975. From a close reading of films produced on the thirtieth anniversary of the end of the war, the article deciphers complicated meanings about national identity, history, and gender. In this new political economic context, the possibilities for remembering the southern regime—including its people and veterans—remains open and closed. Through the framework of heteroglossia of history, the co-presence of competing viewpoints within cinematic texts points to the complexity of an ever-changing Vietnam.
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Fornäs, Johan. "Röster som gjorde skillnad. Korsande identifikationer i folkhemmets populärkultur." Tidskrift för genusvetenskap 26, no. 2-3 (June 14, 2022): 57–68. http://dx.doi.org/10.55870/tgv.v26i2-3.4012.
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"Voices making difference: Crossing identifications in Swedish populär culture 1920-1950" starts and ends with reflections on the concept of intersectionality and its uses in recent debates. Its potentials to open dialogues between different perspectives on identity orders such as gender, sexuality, ethnicity, class, age and generation need to be nourished and protected against divisive ways of transforming it into a means to dig trenches between perspectives. It is argued that there is no a priori given set of identity dimensions, but that the choice of which orders to focus is always context-dependent and needs to be decided for each particular study. It is also emphasised that both crossings and boundaries between dimensions need to be reconstructed in empirical interpretations, since links and differences are produced in specific cultural practices and texts, even though the connecting "inter-" may analytically and politically be privileged over the dividing "-sect". A further observation is that while in some texts, identity orders may line up or prismatically reinforce each other in clear patterns, they often combine in much more diffuse, ambiguous and contradictory ways. The central sections of the article present an example of an intersectional and intermedial analysis of song lyrics, novels, films and other identity texts that were triggered by the advent and assimilation of jazz music in the Swedish welfare society during the period 1920-1950. Examples of primitivist polarisations of white/black and male/female are juxtaposed to more open subject positions. An example of the former is the author Artur Lundkvist, who in his book Negerkust (Negro Coast, 1933) exploited black women as both racially and sexually "Others". The teenage jazz star Alice Babs exemplifies the hybridising option, her songs and films around 1940 transgressed and redefined borders in the age, class, gender and ethnic dimensions.
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Igaeva, Ksenia V., and Natalia V. Shmeleva. "Transformation of Masculinity in the Russian Cinema." Observatory of Culture 18, no. 2 (May 31, 2021): 140–48. http://dx.doi.org/10.25281/2072-3156-2021-18-2-140-148.
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The article discusses the issues of gender identity and the crisis of masculinity in the Soviet and post-Soviet cinema in comparison with Western films. Social instability becomes the basis for rethinking cultural identity and expanding the typology of masculinity. This imbalance is most clearly visible in the cinema, which is a beneficial environment for actualizing problematic socio-cultural issues and forming some gender stereotypes and normative behaviors that later enter everyday reality. Following the West, the Russian cinema also focuses on the substantive side of the concept of “masculinity”, which is based on the specifics of national identity, traditional goals and social foundations. It is significant that the hegemonic masculinity characteristic of the Western cinema was not basically common in the Soviet era, whose masculinity model was the image of a leader, a worker, and, in the post-war period, a front-line soldier. The collapse of the Soviet Union and the beginning of capitalist relations in Russia caused the overthrow of former cultural values and the crisis of Soviet identity. The suppression of the male characters’ “sensitivity” was replaced by a total emancipation and sexuality, which can be witnessed in the abundance of scenes of a sexual nature in the films of the 1990s. However, in the post-Soviet cinema, the focus on the values of Western culture, in which a crisis of masculinity was already evident, stimulated the interest in the Russian image of masculinity, which initially manifested itself in romanticizing the image of a “fair gangster,” and later — in the appeal to traditional Russian and Soviet heroes. Since the 2010s, the glorification of the Russian criminal past has declined, opening the space for the emergence of new types of Russian masculinity. The general context of these transformations is represented by the changes of masculinity from the Soviet traumatic, through the post-Soviet (crisis) to the contemporary one.
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Levy, Emanuel. "Stage, Sex, and Suffering: Images of Women in American Films." Empirical Studies of the Arts 8, no. 1 (January 1990): 53–76. http://dx.doi.org/10.2190/90lj-px9t-q0j8-kb0g.
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This article systematically examines the portrayal of women in the American cinema over the last sixty years, from 1927. More specifically, it addresses itself to the following issues: the main attributes of screen women in terms of age, marital status, and occupation; the guidelines prescribed by American films for structuring women's lifestyles; the degree of rigidity of these normative prescriptions and proscriptions; and recent changes in the portrayal of women. The research is based on content analysis, quantitative and qualitative, of 218 screen roles, male and female, which have won the Academy Award, bestowed annually by the Academy of Motion Picture Arts and Sciences for the best achievements in film acting. The study demonstrates the differential treatment of gender in American films and the durability of specific screen stereotypes for men and for women. The prevalence of rigid conventions in the portrayal of women for half a century is explained in relation to male economic and ideological dominance in Hollywood and in American society at large.