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Journal articles on the topic 'Gender roles in Hollywood movies'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Powers, Stephen P., David J. Rothman, and Stanley Rothman. "Transformation of gender roles in hollywood movies: 1946–1990." Political Communication 10, no. 3 (1993): 259–83. http://dx.doi.org/10.1080/10584609.1993.9962983.

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2

Hoang Thi, Nga. "A GENDER STEREOTYPES FROM AMERICAN AND VIETNAMESE WAR FILMS – A CASE STUDY OF VIETNAMESE WOMEN’S REPRESENTATION." Journal of Science Social Science 65, no. 11 (2020): 14–23. http://dx.doi.org/10.18173/2354-1067.2020-0067.

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In the media, the movies have a strong impact on the perception of gender and gender roles, including the image and role of women. The question is: Are there any hidden gender stereotypes contained in images, words, and plot in a movie? Therefore, this report refers to the image and portrait of Vietnamese women described in the Vietnam War films under a comparative perspective from both the US and Vietnam. From these different views, the filmmakers in Hollywood and Vietnam presented their different perceptions, even their opposing views to the Vietnamese women and their role in the war. Even m
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3

Amalina, Benita. "FIGHTING FOR WOMEN EXISTENCE IN POPULAR ESPIONAGE MOVIES SALT (2010) AND ZERO DARK THIRTY (2012)." Rubikon : Journal of Transnational American Studies 3, no. 1 (2019): 28. http://dx.doi.org/10.22146/rubikon.v3i1.47824.

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American spy movies have been considered one of the most profitable genre in Hollywood. These spy movies frequently create an assumption that this genre is exclusively masculine, as women have been made oblivious and restricted to either supporting roles or non-spy roles. In 2010 and 2012, portrayal of women in spy movies was finally changed after the release of Salt and Zero Dark Thirty, in which women became the leading spy protagonists. Through the post-nationalist American Studies perspective, this study discusses the importance of both movies in reinventing women’s identity representation
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4

Dehchenari, Maryam Abdali, Mardziah Hayati Abdullah, and Wong Bee Eng. "Critical and Semiotic Analysis of the Shift in Women’s Erotic and Romantic Roles in Action Movies and Movie Posters across Three Eras of Hollywood." International Journal for Innovation Education and Research 2, no. 6 (2014): 25–39. http://dx.doi.org/10.31686/ijier.vol2.iss6.192.

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Adopting CDA and social semiotic analytical frameworks, the research investigated 30 action movies and accompanying posters from 1930 to 2012, with the following objectives: (1) to examine verbal and non-verbal elements in women’s representation, and (2) to trace significant changes in the romantic and erotic roles of female characters across three eras of Hollywood. Lovers showed their emotions in the most appealing and polite manner during the classical era, but they were more multifaceted during the last two eras. The new Hollywood era turned a blind eye to skin color by including indigenou
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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 (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
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Noureen, Abida, and Sajjad Ahmad Paracha. "Muslims and Islam: Freeze Framed Discourses in Hollywood during 1978-2013." Global Regional Review IV, no. IV (2019): 37–43. http://dx.doi.org/10.31703/grr.2019(iv-iv).05.

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Hollywood movies have revealed dramatic and varying status of Islam and Muslims, calling them as magical carpets to mummified leadership and, ultimately global bastion of terrorism. Various researchers consider Hollywood film industry as a reflection to construct public opinion in the cinema industry and, it creates crucial slots that rely on emotive and evocative imagination adjustable to stereotypic approach. Many other researchers believe that such stereotypical conception against Arabs (Muslims) roles in US movies later 11th of September attacks prove damaging depictions, notorious recogni
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Batool, Sumera, Maria Naeem, and Feroza Batool. "Gender Construction And Media Narratives: Representations Of Gender In Animated Movies." Pakistan Journal of Gender Studies 15, no. 1 (2017): 199–212. http://dx.doi.org/10.46568/pjgs.v15i1.135.

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Media, as an important and powerful social institution, contributes in the construction and reinforcement of perceptions and beliefs about gender. The media images of gender have been found stereotypical and discriminated while there have been many debates on the under representation and biased treatment of gender related issues. This research study particularly analyzed how media narratives play a part in the construction of gender identities in animated movies. The study focused to investigate how femininity and masculinity have been build up in movies, which sort of roles have been assigned
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8

Thomas, Paul. ": Dreaming Identities: Class, Gender and Generation in 1980s Hollywood Movies . Elizabeth G. Traube." Film Quarterly 47, no. 3 (1994): 52–53. http://dx.doi.org/10.1525/fq.1994.47.3.04a00090.

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9

Manzoor, Seema, Dua-e. Rehma, and Samina Rauf. "Analysis Of Gender Stereotypes In Movies." Pakistan Journal of Applied Social Sciences 4, no. 1 (2016): 95–109. http://dx.doi.org/10.46568/pjass.v4i1.298.

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Structure of the society is the arrangement of various factors on the basis of traditions and ethics, and these values are transferred from generation to generation. The most important thing is that the pattern of the society should be balanced, which is obviously not practical in our society as this trend is seen in all aspects of our life. Media is a very important institution, yet it has not portrayed women in positive manner. If we see film medium, women are represented as sex object and commodity in a stereotypical roles. This under representation of women in movies created imbalance in t
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10

Hussain, Hafiz Azhar, Muhammad Majid Hamid Nasir, and Muhammad Rawaha Saleem. "US Foreign Policy and Iconization of A Terrorist Through Hollywood Films: A Content Analysis of Afghan and Iraq War in Pre & Post 9/11 Movies (1995 To 2015)." Journal of Peace, Development & Communication me 05, issue 2 (2021): 86–99. http://dx.doi.org/10.36968/jpdc-v05-i02-08.

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The study is about the cinematic representation of war on terror and explores the relationship between Hollywood productions and US foreign policy. It includes 14 Hollywood productions for cinema screen regarding Afghan and Iraq war during the era of 1995 to 2015. Content analysis of selected movies is done to find out how the ‘Other’ characters are presented on screen. The observation concludes that the Hollywood has hand in gloves with Washington to propagate the state agenda throughout the world. The image of enemy on cinematic screen is shaped and reshaped following the patterns which suit
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Thomas, Paul. "Review: Dreaming Identities: Class, Gender and Generation in 1980s Hollywood Movies by Elizabeth G. Traube." Film Quarterly 47, no. 3 (1994): 52–53. http://dx.doi.org/10.2307/1212962.

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12

Harsia, Siti, and Ida Rochani Adi. "COMMODIFICATION OF VALUES IN AMERICAN POPULAR FAMILY MOVIES IN 1990S." Rubikon : Journal of Transnational American Studies 7, no. 1 (2020): 12. http://dx.doi.org/10.22146/rubikon.v7i1.62507.

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This thesis investigates the American popular family films from the 1950s to the 2000s by using Interdisciplinary approach. This approach is intended to explore the object of research from the history, sociology, and cultural background. The theory of representation and commodification are used together to examine how the films represent American family life and how the film industry commercializes American family values. By focusing on family roles that include the division of roles between husband and wife, interactions between family members, and the values adopted by children as a result o
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Marwaha, Priyanka. "The Portrayal of Gender Inequality in Selected Female Oriented Bollywood Movies." SMART MOVES JOURNAL IJELLH 8, no. 5 (2020): 23. http://dx.doi.org/10.24113/ijellh.v8i5.10578.

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Men have been considered superior in most cultures since they have been the ones who bring home the bacon, whereas women have always been considered a subject to her father, husband or son, thus inferior. Cinema is not just a modern-day art; rather it is a modern-day mind; while watching a film, we are constantly watching ourselves. In the form of a mirror, Cinema has sharply reflected the Indian psyche and the changing roles of women from time to time. This paper deals with gender inequality and its influence on the patriarchal Indian society with a focus on some female-oriented Bollywood mov
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Fathy, Shrook A., and Prof Amany S. Fahmy. "The Exposure to Animated Movies and Constructing Adolescents’ Perception towards Gender Role." Communication, Society and Media 3, no. 2 (2020): p96. http://dx.doi.org/10.22158/csm.v3n2p96.

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This study aims to know the Egyptian adolescents’ perception towards gender roles; coinciding with the evolution of the female lead animated movies. Being affected by the third and the fourth wave of feminism in American society and its effect on Egyptian adolescents; since animated movies are mainly American produced. The study found that Egyptian adolescents perceive the female role in the society to be independent decision-maker and has her own rights, reassuring that women hold much more work-load than men and her biggest enemy and fighter is the society itself, not her capabilities, while
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15

Rich, Aaron. "The Accent of Truth: The Hollywood Research Bible and the Republic of Images." Representations 145, no. 1 (2019): 152–73. http://dx.doi.org/10.1525/rep.2019.145.1.152.

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Hollywood studio film production through the 1960s involved visual research into depictions of the past in order to help show the audience representations they could recognize and believe. This was part of a much larger and more complex republic of images through which pictures of the world, its people, and its material culture circulated within a system of modern media, including illustrated books, the pictorial press, and other image-based materials of which movies were a part. Hollywood cinema should be reconsidered an essential part of how twentieth-century audiences have perceived history
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16

Mere, Stella Maris Saraswati. "THE REPRESENTATIONS OF HOMOPHOBIA IN GAY-THEMED AMERICAN MOVIES 1990s–2010s." Rubikon : Journal of Transnational American Studies 4, no. 2 (2019): 1. http://dx.doi.org/10.22146/rubikon.v4i2.47876.

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The United States is well-known for its acceptance of homosexuality. Nevertheless, homophobia remains a threat that endangers gay communities in the United States. Homophobia is an intriguing phenomenon for American filmmakers. Through gay-themed movies, those filmmakers intend to raise the awareness that homophobia is elusive to eradicate. This study scrutinizes the representations of homophobia in the United States as seen in gay-themed American movies. The study carries out Postnationalist America Studies as the paradigm of the study which encompasses the discussions of numerous phenomena i
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Yücel, Volkan, and Ziya Toprak. "Cinematic Orientalism: Bab el Oued City & The Time that Remains." CINEJ Cinema Journal 6, no. 2 (2018): 165–80. http://dx.doi.org/10.5195/cinej.2017.179.

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This paper focuses on orientalism as a cinematic paradigm in Islamic imagination. We compare two movies, “Bab el Oued City” (1994) and “The Time That Remains” (2009) that present different cases with regard to orientalism, fundamentalism and gender. We identify basic characters, their agency and roles in the whole setting. Our main argument about the movies, though originating from different contexts and historicity, is that they present somewhat conflicting cases with regard to issues we named above.
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18

Akinmameji, Oluwayemisi Olusola. "Lexis and Mood as Markers of Feminist Ideology in Tunde Kelani’s Arugba and Ma’ami." International Letters of Social and Humanistic Sciences 71 (July 2016): 71–82. http://dx.doi.org/10.18052/www.scipress.com/ilshs.71.71.

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Although the negative representation of women in Nollywood movies is worrisome to scholars, they have done little as regards exploring the feminist linguistic analysis of these movies. Studies have focused on the misrepresentations of women with emphasis on the literary perspectives. This paper attempts a lexical and sentential analysis of feminist ideology of two Nollywood movies. The study adopted Norman Fairclough’s model of Critical Discourse Analysis to explain way linguistic are used to instantiate feminist ideology in the movies. Arugba and Maami produced by Tunde Kelani were purposivel
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19

FIELDING, STEVEN. "BRITISH POLITICS AND CINEMA'S HISTORICAL DRAMAS, 1929–1938." Historical Journal 56, no. 2 (2013): 487–511. http://dx.doi.org/10.1017/s0018246x12000465.

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ABSTRACTInspired by the debate about the influence feature films exerted over popular political attitudes during the interwar period, this article explores how one of cinema's most popular genres, the historical drama, represented British politics during the 1930s. It concentrates on eight films that depicted leading figures from Britain's modern political past, ranging from Robert Clive and Pitt the elder to Queen Victoria by way of Benjamin Disraeli. The article emphasizes how this historiophoty was shaped by the movies' production context. For they were: created within a transatlantic cultu
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20

Bortacka, Gabriela. "The depiction of men in contemporary pornographic movies." Dziennikarstwo i Media 15 (June 29, 2021): 101–13. http://dx.doi.org/10.19195/2082-8322.15.9.

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This article describes how men are presented in pornographic materials available on one of the most popular thematic websites — PornHub.com. The article contains a disambiguation of the term ‘pornography’, and discusses the reach of the pornographic market, as well as the audience and specifics of PornHub. The main part contains an empirical study of fifteen movie productions divided into three categories: heterosexual, homosexual, and for women. The article presents both the physical description of what is happening in the film and the analysis of the gender roles of the depicted characters.
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21

Tatulescu, Petruta. "Gender and Identity at Boarding Schools: Outcast Teachers in Maedchen in Uniform (1958) vs Loving Annabelle (2006)." CINEJ Cinema Journal 1 (August 4, 2011): 140–47. http://dx.doi.org/10.5195/cinej.2011.16.

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“Loving Annabelle”, a US film released in 2006, tells the story of a boarding school student who falls in love with her teacher. The movie is based on “Maedchen in Uniform”, a German movie released in 1958. This paper aims at analyzing the perception of love, and in particular lesbian love, over the course of a century by dealing with the comparison between the two movies. What has changed and what keeps a similar position in terms of severe rules in the context of the boarding school environment, religion, physical and platonic love? What roles do the family and the teachers play? The teacher
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22

Ardanareswari, Indira. "Honorarium, Aktris, Gender: Perempuan Pekerja Seni dalam Industri Perfilman Indonesia, 1950an-1970an." Lembaran Sejarah 14, no. 2 (2019): 136. http://dx.doi.org/10.22146/lembaran-sejarah.45436.

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Observing women as art workers, one can’t put away how women contribute to promote popular entertainment art such as movie. Women in the movie industry between 1950’s until 1970’s held extremely important roles. Big demands of women have given them freedom to participate in the works, choosing professions in the movie industry based upon their respective passion. In the development, they began to be driving forces of the expansion of public spaces for women in their locality, especially within the movie industry. These actresses were promoted intensively as a way to legitimate commercial movie
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Scholz, Juliane. "Re-Configuring the New Women - Female Screenwriters and Street Films in Weimar Republic." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 2 (2017): 32–44. http://dx.doi.org/10.31165/nk.2017.102.507.

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This article traces the history of early female screenwriters in Germany and highlights the influence of professional female screenwriter Ruth Goetz and her movie Die Dirnentragödie (also: Women without Men, 1927). It shows how the movie represented certain political, cultural and legal debates on the New Woman and reconfigured the myth by implementing ambivalent gender roles in the plot. Furthermore, the representation of the role of female sex workers in Weimar society in Weimar street films is described and the way of transforming cultural and political discourses about gender equality into
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Charlton, Michael. "Performing gender in the studio and postmodern musical." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 19–35. http://dx.doi.org/10.33178/alpha.3.02.

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This essay explores two distinct historical periods in the Hollywood musical through a Butlerian reading of gender as a performance. The two example films from the studio era, Howard Hawks’ Gentlemen Prefer Blondes (1953) and the restored version of George Cukor’s A Star is Born (1954), are contextualised not only within the studio system but through the constructed star personae of their leads—Marilyn Monroe and Judy Garland. Baz Luhrmann’s Moulin Rouge! (2001) and Rob Marshall’s Chicago (2002), the two example films from the twenty first century, are contextualised within a Jamesonian post-m
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Jones, Suneé. "THE EVOLUTION OF A FEMININE STEREOTYPE: WHAT TINKER BELL TEACHES CHILDREN ABOUT GENDER ROLES." Gender Questions 3, no. 1 (2016): 45–61. http://dx.doi.org/10.25159/2412-8457/819.

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Research has shown that some children’s stories may contain subversive cultural messages and that, by consuming them, children are unconsciously socialised and unwittingly influenced to accept cultural norms relating to, among other things, gender roles, race relations, power structures and class distinctions. This process of socialisation is especially effective through the medium of children’s literature, especially those stories that make use of generic elements such as the archetypes found in fairy tales, and the fairy tales re-imagined and produced as films by the Walt Disney Company.
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Morrison, Margaret. "Tap and Teeth: Virtuosity and the Smile in the Films of Bill Robinson and Eleanor Powell." Dance Research Journal 46, no. 2 (2014): 21–37. http://dx.doi.org/10.1017/s0149767714000266.

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Several films of 1935 catapulted tap dancers Bill “Bojangles” Robinson and Eleanor Powell to movie stardom. Robinson'sThe Littlest Rebeland Powell'sBroadway Melody of 1936utilize a cinematic formula that intercuts the virtuosic footwork of the tap artists with giant close-ups of their toothy grins. The experience for contemporary spectators can be unnerving, as magnified lips, teeth, and eyes dominate the screen and interrupt the pleasure of watching expert tap. While the close-up smile and the choreography of the camera helped the film industry reproduce the excitement of live performance, th
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Loscertales, Felicidad. "LA IMAGEN DE LAS PROFESORAS A TRAVÉS DEL CINE." International Journal of Developmental and Educational Psychology. Revista INFAD de Psicología. 6, no. 1 (2017): 159. http://dx.doi.org/10.17060/ijodaep.2014.n1.v6.729.

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Abstract.This is not a mere descriptive work but a way to denounce another case of violence against women: making them invisible. Women are an overwhelming majority of teaching professionals; however, they do not appear as protagonists of movies about teaching issues rather than as a small minority with extremely stereotypical roles. Bearing in mind that women represent most of the people who work as teachers, we wondered and analysed how they are portrayed in movies. Content analysis show two great fields:1- Teaching post occupied by women teachers.2- Their professional styles (types and qual
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Crookston, Cameron. "Can I Be Frank with You?" GLQ: A Journal of Lesbian and Gay Studies 27, no. 2 (2021): 233–52. http://dx.doi.org/10.1215/10642684-8871677.

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When Fox 21 Television Studios announced that Laverne Cox would play the role of Frank N. Furter in their 2016 The Rocky Horror Picture Show: Let’s Do the Time Warp Again, most public response circled around how Cox’s visible political identity as a trans woman spoke to the problematic nature of Rocky Horror’s language and dated identity politics. Released in 1975, Richard O’Brien and Jim Sharman’s The Rocky Horror Picture Show has been a touchstone of queer popular culture for more than forty years. Rocky Horror is constructed as a self- conscious pastiche of multiple cultural moments and que
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Kmet, Nicholas. "Remote Control: Collaborative Scoring and the Question of Authorship." Revue musicale OICRM 5, no. 2 (2018): 1–14. http://dx.doi.org/10.7202/1054145ar.

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Perhaps the most interesting – and controversial – aspect of Hans Zimmer’s Remote Control Productions is the collaborative workflow that many of the film scores that pass through the Santa Monica studio are produced under. While Zimmer and business partner Steven Kofsky have taken great pains in interviews to emphasize the independence of composers working at the Santa Monica studio – Kofsky has said that “these composers are independent, have their own businesses, and secure their own movies” – the reality is one of frequent collaboration. The website for the studio’s parent company – a joint
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Brookeman, Christopher. "Elizabeth G. Traube, Dreaming Identities: Class, Gender, and Generation in 1980s Hollywood Movies (Boulder and Oxford: Westview Press, 1991). Pp. 207. ISBN 0 8133 1314 7." Journal of American Studies 27, no. 2 (1993): 304–5. http://dx.doi.org/10.1017/s002187580003200x.

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Lucamante, Stefania. "Road Movies and Gas Stations: Monica Stambrini's Benzina as Creation of Alternative Spaces." Quaderni d'italianistica 29, no. 2 (2008): 111–34. http://dx.doi.org/10.33137/q.i..v29i2.8459.

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Both the novel and the film Benzina think of the literary and the visual as contesting sites for women. In revisiting the fields of space within a capitalist society and the struggle for representation of sexual identity, these two works successfully deploy strategies where the visual narrative — literary and cinematic — confirms its ability to be a place in which subjects try out distinct possibilities of their existential corporeality. Rather than presenting crystallized subjectivities, these works analyze the attempts a lesbian couple makes at finding their place within a social system stil
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Braga, Ivy Correia, and Gustavo Monteiro Manhães. "ASPECTOS DA VIOLÊNCIA DE GÊNERO CONTRA A MULHER NO CINEMA INTERNACIONAL." Lex Cult Revista do CCJF 3, no. 1 (2019): 59. http://dx.doi.org/10.30749/2594-8261.v3n1p59-68.

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Resumo: Esta é uma análise do cinema internacional visando as expressões de violência contra a mulher enquanto gênero, abrangendo desde a presença e exercimento de um poder simbólico, até a violência menos velada que encontra-se presente desde filmes pulp até as megaproduções hollywoodianas. Com enfoque na violência simbólica como forma de dominação derivada do poder simbólico, faz-se presente a necessidade de elucidar sutilezas da atuação da desta violência na mídia. O cinema foi escolhido como produção de arte e, portanto, espelho de uma cultura e sociedade. As obras selecionadas abrangem de
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Starzyńska, Antonina, and Magdalena Budziszewska. "Why shouldn’t she spit on his grave? Critical discourse analysis of the revenge narratives in american popular film from the developmental point of view." Psychology of Language and Communication 22, no. 1 (2018): 287–306. http://dx.doi.org/10.2478/plc-2018-0013.

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Abstract One of the premises of developmental psycholinguistics is that we live our life according to certain narratives that are learned through language and media. These narratives teach children to express emotions and to attribute actions in a variety of life situations; they construct the way in which the threatening feelings such as anger, injustice, or the urge of vengeance are experienced. In this paper, we present a critical analysis of the gendered discourse in popular American cinema, based on the plot analysis of 60 films featuring male or female protagonist seeking revenge. We use
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Reagan, Leslie J. "Representations and Reproductive Hazards of Agent Orange." Journal of Law, Medicine & Ethics 39, no. 1 (2011): 54–61. http://dx.doi.org/10.1111/j.1748-720x.2011.00549.x.

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United States Air Force planes fly across mountains of green forest; behind them, fine white streams of chemical spray fill the sky. The planes fly alone or in formation covering wide swaths of the entire landscape. These images of the herbicide spraying during the United States-Vietnam War are ubiquitous in media material about Agent Orange, the most heavily used of the fifteen herbicides sprayed during the war. This representation of the war does not include guns, grenades, tanks, bombs, or dead bodies. Instead, contemporary documentary filmmakers offer images of airplanes and chemical barre
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Navarro Martínez, Eva, and Alejandro Buitrago Alonso. "Myths, traditions, and rituals of food in Spanish cinema." Semiotica 2016, no. 211 (2016): 293–313. http://dx.doi.org/10.1515/sem-2016-0104.

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AbstractThis paper analyses how food is represented in cinema, using as its main examples Spanish films from 1970 to the current day. It will focus on how food and eating become semiotic objects and how these semiotic objects are used as a cinematographic tool. To undertake this analysis it is important to differentiate between three food-related aspects: (1) The act of eating, (2) Places for eating, and (3) food itself. The methodological approach in the paper is based on the study of the functions that these distinct food-related aspects have in movies and as indicators of national identity.
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Levy, Emanuel. "Stage, Sex, and Suffering: Images of Women in American Films." Empirical Studies of the Arts 8, no. 1 (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
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Kim, Hannah, Denys Katerenchuk, Daniel Billet, Jun Huan, Haesun Park, and Boyang Li. "Understanding Actors and Evaluating Personae with Gaussian Embeddings." Proceedings of the AAAI Conference on Artificial Intelligence 33 (July 17, 2019): 6570–77. http://dx.doi.org/10.1609/aaai.v33i01.33016570.

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Understanding narrative content has become an increasingly popular topic. Nonetheless, research on identifying common types of narrative characters, or personae, is impeded by the lack of automatic and broad-coverage evaluation methods. We argue that computationally modeling actors provides benefits, including novel evaluation mechanisms for personae. Specifically, we propose two actor-modeling tasks, cast prediction and versatility ranking, which can capture complementary aspects of the relation between actors and the characters they portray. For an actor model, we present a technique for emb
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Guth, Christine M. E. "From Book to Film." Journal of Japonisme 6, no. 1 (2021): 1–26. http://dx.doi.org/10.1163/24054992-06010001.

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Abstract Mary McNeil Fenollosa’s 1906 novel The Dragon Painter and its 1919 filmic adaptation sit at the intersection of American literary, art, and film history. Simultaneously personal and political, each is a product of its time and place. Together, they tell a story about changing (and unchanging) attitudes that were constituents of the complex and often contradictory history of the reception of Japanese culture and people in the United States. The novel draws on stereotypes of Japan as a primitive country of innately artistic people that at the time of its publication had been made famili
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YANG, MINA. "Moulin Rouge! and the Undoing of Opera." Cambridge Opera Journal 20, no. 3 (2008): 269–82. http://dx.doi.org/10.1017/s095458670999005x.

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AbstractWhile Moulin Rouge! (2001) riffs on and even exaggerates conventions from classic Hollywood backstage musicals, it owes a clear debt to an even earlier musico-dramatic genre – the opera. Combining operatic and film musical elements with those of pop videos, contemporary cinema and the rave scene, Baz Luhrmann's film engages with many of the thorny issues that have concerned opera critics of late, such as power, gender, exoticism, authorship, and identity construction and performance. The spotlight on the central love triangle of a consumptive courtesan, a writer and a wealthy patron ma
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Shary, Timothy. "Introduction." Boyhood Studies 8, no. 2 (2015): 1–4. http://dx.doi.org/10.3167/bhs.2015.080201.

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These are ripe times to study boyhood in cinema. Even though male characters have undoubtedly dominated cinema roles from the start, boys’ stories have not been consistently produced or appreciated. Since the publication of Where the Boys Are: Cinemas of Masculinity and Youth, a collection edited by Murray Pomerance and Frances Gateward in 2005, there has been increasing academic interest in boyhood representation through movies, as demonstrated by the articles collected here. This interest follows the expansive concerns of pop psychology texts at the turn of the century that took up the polit
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Girelli, Elisabetta. "“Our Bravest and Most Beautiful Soldier”: Pola Negri, Wartime and the Gendering of Anxiety in Hotel Imperial." Film-Philosophy 23, no. 2 (2019): 159–76. http://dx.doi.org/10.3366/film.2019.0107.

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This article focuses on Pola Negri, one of the most iconic stars of the silent era, and concentrates on her performance and image in the Hollywood film Hotel Imperial (Mauritz Stiller, 1927). Assessing Negri's character within the wartime context of the plot, her screen presence and narrative function are analysed in relation to wartime anxiety, gender roles, and the role of the home front. Specifically, this article argues that Negri's exceptional display of anxiety, in contrast to the acting of her male co-protagonists, can be fruitfully understood as a distinctly “female”, empowering qualit
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Sobot, Ankica. "The impact of education on time use of elderly population in Serbia." Stanovnistvo 53, no. 2 (2015): 67–86. http://dx.doi.org/10.2298/stnv1502067s.

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The active ageing concept, which implies individual and broader social benefits, is defined for mitigating the negative effects of intensive population ageing. It redefines the perception of ageing in accordance with the positive trends in terms of health and life span of older persons' life. One of the factors which has certain impact on some aspects of active ageing is education. The researches confirm its influence on the health and vitality of the elderly, as well as on their economic activity. It is important not only as a dimension of socio-economic status, but also from the perspective
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Cadwallader, Jessica Robyn. "Like a Horse and Carriage: (Non)Normativity in Hollywood Romance." M/C Journal 15, no. 6 (2012). http://dx.doi.org/10.5204/mcj.583.

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IntroductionTwo recent romantic comedies—Friends with Benefits and Friends with Kids—seek to re-situate the cultural logics of marriage by representing that supposed impossibility: the friendship between people of different sexes. These friendships are chosen as the site for particular kinds of intimacy—sex, in one case, and parenting in another—through a rejection or disenchantment with the limitations of heteronormative approaches to relationships. This initial, but of course not final, rejection of the investment in romance is obviously not entirely unheard of in the genre of romantic comed
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Dowd, James, Arialle K. Crabtree, and Bryan C. Cannon. "Movies, gender, and social change: the hollywood romance film." Journal of Gender Studies, September 23, 2021, 1–14. http://dx.doi.org/10.1080/09589236.2021.1979479.

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Thompson, Jay Daniel, and Erin Reardon. "“Mommy Killed Him”: Gender, Family, and History in Wes Craven’s A Nightmare on Elm Street (1984)." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1281.

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Introduction Nancy Thompson (Heather Langekamp) is one angry teenager. She’s just discovered that her mother Marge (Ronee Blakley) knows about Freddy Krueger (Robert Englund), the strange man with the burnt flesh and the switchblade fingers who’s been killing her friends in their dreams. Marge insists that there’s nothing to worry about. “He’s dead, honey,” Marge assures her daughter, “because mommy killed him.” This now-famous line neatly encapsulates the gender politics of Wes Craven’s A Nightmare on Elm Street (1984). We argue that in order to fully understand how gender operates in Nightma
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"Representation of Women in Amharic Movies." International Journal of Recent Technology and Engineering 8, no. 2S11 (2019): 3912–17. http://dx.doi.org/10.35940/ijrte.b1521.0982s1119.

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Women are often misrepresented in society all across the globe. They are designated with various roles which can be identified in politics, media, films, and literature. The study aims at exploring women representation in Amharic movies. The Ethiopia film industry seems to be gender biased. One finds men to be better employed as compared to women. Men are in general are given better roles to act where as women are restricted to the roles of maid- servant and subordinates. The aim is to look into the role/jobs given to women in Amharic movies. The study indicates that women in Amharic movies ow
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Kocemba, Karolina. "Bajkowa (r)ewolucja? Prawa kobiet a filmy Disneya." Archiwum Filozofii Prawa i Filozofii Społecznej, March 31, 2021, 86–99. http://dx.doi.org/10.36280/afpifs.2021.1.86.

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In the article, the author raises the issue of socialization of children through popular culture. She assumes that popular culture can be treated as a carrier of values and patterns of conduct, and also as a key factor of socialization. The codes, contexts or values that are conveyed through animated movies, are what a child can later refer to the surrounding reality. In this way, it is possible to learn family, professional or gender roles, which are then perpetuated in play. The author explores primarily the impact of popular culture through an analysis of animated films produced by Walt Dis
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Frame, Sharon. "Fossilized Gender Bias." revistapuce, November 3, 2020. http://dx.doi.org/10.26807/revpuce.vi111.321.

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No woman has everbeen elected President of the United States. Despite historic breakthroughs by female politicians, shattering the ultimate glass ceiling is still an elusive feat. The purpose of this study is to analyze the extent to which gender bias influences the U.S. presidential election process. Its aim is also to measure the sociolinguistic impact of negative stereotypes of women in the country’s political culture. In gathering the research, the study examined the 2016 U.S. presidential race which featured Hillary Clinton. The veteran public servant ran against a male opponent who had n
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Loscertales-Abril, Felicidad, and Trinidad Núñez-Domínguez. "Cartoon movies at home: animation films and TV." Comunicar 16, no. 31 (2008). http://dx.doi.org/10.3916/c31-2008-03-078.

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Movies are one of the objects of study for Social Psychology because they are not only art or industry; they are a way of socialization. Therefore, movies show behaviour models, social values and norms, and make people react: movies are persuasive. A psycho-social analysis of films is necessary because movies can sometimes display prejudiced negative contents, which could be both explicit or very subtle, and therefore quite dangerous. The authors analyse ten well-known Dis-ney films from the gender perspective: How are men and women shown? What roles do they impersonate? Specifying contents an
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Shule, Vicensia. "Sexism, Stereotypes and Production Constraints in the Tanzania Video Film Industry." Imbizo 8, no. 1 (2018). http://dx.doi.org/10.25159/2078-9785/2330.

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In the current neo-liberal era, it is pertinent to interrogate the role of the video film industry in transforming societies beyond patriarchal and bourgeois gender stereotypes. The video film industry is popular in Tanzania, and bongo movies appear to focus on socio-cultural and economic issues, which largely pander to stereotypes as defined by patriarchy. In this article, I investigate the claim that “there are no female producers in bongo movies”. The statement invites analysis on gender roles in the film production industry in Tanzania as well as the content of the produced films. Meetings
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