Relevant bibliographies by topics / Literature|Gender studies|Film studies / Dissertations / Theses
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Dissertations / Theses on the topic 'Literature|Gender studies|Film studies'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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1

DuGar, Grace A. "Passive and Active Masculinities in Disney’s Fairy Tale Films." Cleveland State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=csu1367849096.

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2

Coyne, Kelly Marie. ""The Magic Mirror" Uncanny Suicides, from Sylvia Plath to Chantal Akerman." Thesis, Georgetown University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10272269.

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Artists such as Chantal Akerman and Sylvia Plath, both of whom came of age in mid-twentieth century America, have a tendency to show concern with doubles in their work—Toni Morrison’s Beloved , Maya Deren’s Meshes of the Afternoon, Cheryl Dunye’s The Watermelon Woman—and oftentimes situate their protagonists as doubles of themselves, carefully monitoring the distance they create between themselves and their double. This choice acts as a kind of self-constitution, by which I mean a self-fashioning that works through an imperfect mirroring of the text’s author presented as a double in a fictional work. Texts that employ self-constitution often show a concern with liminality, mirroring, consumption, animism, repressed trauma, suicide, and repetition.

It is the goal of this thesis to examine these motifs in Sylvia Plath’s The Bell Jar and the early work of Chantal Akerman, all of which coalesce to create coherent—but destabilizing—texts that propose a new queer subject position, and locate the death drive—the desire to return to the mother’s womb—as their source. I will examine the uncanny on various levels, zooming out from the micro-level elements of the text to its broader relationship to its environment: from rhetoric, to the physical landscapes of the texts, to characters of the text, to the structure of the text (as confined by its frame), and then, finally, outside the text itself, to the author’s relationship with her double. What I will argue here is that Akerman and Plath—in doubling on both the extradiegetic and intradiegetic levels of their work—propose a queer liminal space that siphons and ultimately expels repressed uncanny desire, allowing for both self-sustainability and personal integrity.

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3

Whiteleather, Hagan Faye. "FROM RIVETER TO RIVETING: THE REBIRTH OF THE FEMME FATALE IN POST-WAR AMERICA." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1431360238.

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4

AlFares, Fawwaz A. "Infestation, Transformation, and Liberation| Locating Queerness in the Monsters of 'Body Horror'." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10123807.

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Given the increased public enthusiasm for the genres of Horror and Science Fiction, as well as the renewed and ever-evolving interest in indie horror films (propelling them into the mainstream), there is a noticeable increase of public eagerness to consume films that toy with the ideas of anxiety and the body. While many of these films seem to fit the rubric of heteronormative and mainstream Hollywood productions that occupy a neat world of perfectly defined gender identities, we can still excavate bodies that fall outside of such neat definitions. On the one hand, we are presented with a defined female or male character, thrust into a chaotic situation through which they must endure tremendous anxiety and pain and strive to survive. On the other, these bodies seem to survive and thrive despite not fitting in with the simple heteronormative worlds in which they dwell.

The purpose of this thesis is not to provide a stand-in or voice for the queer body, nor is its purpose to create an index of films that fall under the sub-genre of ‘Body Horror,’ but to explore how films in this genre that seem to privilege performances of able-bodiedness and heteronormativity actually treat queerness and queer topics in very different ways. This thesis wishes to explore these bodies as they cruise through their respective dystopian technofetishistic worlds; as their bodies are infected, their figures transformed, and their psyches liberated as they attain physical, sexual or psychological release.

To facilitate both observation and maintain its central focus, this paper will be divided into three main parts. The first chapter will define key terms and phrases that are the central focus of this paper. The second chapter will explore the concept of ‘Infestation,’ which will focus on the queer and disabled bodies as they are occupied, annexed, and attacked by external forces or internal strife. This chapter will consider the concept of ‘Transformation’ and further examine the manner through which the “monstrous queer” emerges through the definition of normalcy and the anomalous. Lastly, the final chapter will revolve around the concept of ‘Liberation,’ and review these observations in terms of how these performances reconcile and imagine their own respective ideas of queer futures. This final chapter will expand the narrative of queer futurity while also dwelling on notions of the inevitable “queer dystopia” in ‘Body Horror’ films. The voices and scholarship in the fields of Queer and Disability Studies, Psychoanalysis, and Film Studies will guide this reading as it seeks out these bodies and unearths the deeply affective, psychological, and physical states of transformation they undergo.

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5

Chen, Yue. "Between Sovereignty and Coloniality--Manchukuo Literature and Film." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23783.

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This dissertation studies the cultural imagination of Manchukuo the nation (1932-1945). As a nominal nation-state imposed upon Chinese Manchuria by the Empire of Japan, Manchukuo is a contradiction between sovereignty and coloniality, both due to the historical competition of geopolitical powers in the region and its multiethnic composition of the national community. In its short political life, Manchukuo bears witness to an unprecedented flourish of literary and film production. This textual corpus remains understudied and its relationship to Chinese literature and culture or Japanese literature and culture is insufficiently explored. Armed with postcolonial and minority discourse, this project examines how Manchukuo cultural production mediates the notion of the nation and sovereignty in the context of Japanese imperialism. The close reading and critical interrogation of this body of literary and filmic texts shall generate provocative questions for the reconstruction of Chinese literary studies and East Asian studies. The body of the dissertation consists of four interrelated arguments. Framing the reading in the context of recent scholarly debate on “the Sinophone,” Chapter two considers Manchukuo literature as a “minor literature” whose distinction lies in its writers’ use of “deterritorialized” Chinese, Japanese, and Russian. Multilingualism and multiethnicity are therefore the (trans)national features of Manchukuo literary production. This literary “sovereignty” is then re-examined through the representation of Manchukuo’s women and family in Chapter three. Interpreting coloniality through reading gender relations, this chapter highlights the unusual progressive portrayal of women in Manchukuo. This discovery of Manchukuo women’s autonomy and mobility is reinforced in the interpretation of Manchukuo’s dramatic feature films. Working through feminist critique of gender division and looking into magazines of the era, chapter four and five analyze the films’ explanation of a contradiction within Japanese imperialism. This contradiction of “sovereignty” and “submission” gets further elaboration in Chapter five. An interpretation of the star text of Ri Kōran reveals her stardom and Manchukuo film musical provides a unique anti-romantic “affiliation” of the Manchukuo nation.
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6

Parziale, Amy Elizabeth. "Representations of Trauma in Contemporary American Literature and Film: Moving from Erasure to Creative Transformation." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301676.

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This dissertation attempts, in its limited way, to redress the repeated erasure of trauma from public knowledge and social consciousness by examining how a variety of crisis events have been represented in contemporary American literature and film. Intersecting archival, trauma, literary and film studies, this project highlights connections across politics of institutions and politics of identity by considering the creative transformation of trauma in representation. Considering how trauma aesthetics across a broad spectrum also illuminates the ways social structures are reinscribed, how trauma permeates and crosses borders in productive ways, and how race, gender, sexuality, and class relate to the traumatic. Each text included here has an interesting relationship to cultural history and historic events - including the Holocaust, 9/11, and slavery - challenging a variety of accepted social narratives. After an introduction outlining the theoretical frameworks, the first chapter considers Cuban-American author Cristina García's work; specifically how her first two novels - Dreaming in Cuban and The Agüero Sisters - attempt to resolve the traumatic pasts of female characters, while her subsequent two novels - Monkey Hunting and A Handbook to Luck - consider which stories are collected and which are lost. Reading novels as potential counter-archives envisions more inclusive understandings of truth, history, memory, and trauma. The image/texts analyzed in the next chapter continue this line of inquiry, further blurring supposedly stable categories like truth and history through complex interpretative relationships between textual and visual narratives in two Holocaust and four American novels. The third chapter argues that the archive created by films is not only citational and referential but potentially rewrites history. The fleeting traumatic revelations in Vertigo, Chinatown, Taxi Driver, The Searchers, Chan is Missing, and The Return of Navajo Boy acknowledge the impact and implications of trauma while creating collective memories through cinema. Similarly, the brief moments of idealized community in Toni Morrison's novels move the readerly experience out toward the current sociopolitical moment. The ambiguous endings of The Bluest Eye, Beloved, and Paradise open quietly kept narratives to history and recuperate traumatized voices that represent our past and call us to our present.
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7

Engel, Grace Eve Cheaney. "“The Utter Reality of Characterization”; Presentational and Representational Work in Kenneth Branagh’s Much Ado About Nothing." University of Toledo Honors Theses / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1294188870.

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8

Linder, Kathryn E. "Narratives of Violence, Myths of Youth: American Youth Identity in Fictional Narratives of School Shootings." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1298851564.

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9

Childress, Kirby. "A Phenomenology of Closet Trauma: Visual Empathy in Contemporary French Film and Graphic Novels." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1618915090413157.

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10

Iglesias, Pascual Hector. "Chile coliza: cuerpos, espacios discursivos y redes sociales en la literatura y el cine chileno contemporaneo de tematica LGBTQ." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1590402161795102.

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11

Troth, Brian Jonathan. "Amour à risques: A Reworking of Risk in the PrEP Era in France." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1562092704692905.

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12

Graham, Chelsea. "Defanged and Desirable: An Examination of Violence and the Lesbian Vampire Narrative." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1460127837.

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13

Lupo, Melissa Cecelia. "The Political Repercussions of Homosexual Repression of Masculinity and Identity in Martin Sherman's BENT." Cleveland State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=csu1294870010.

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14

Miller, Rachel R. "The Girls' Room: Bedroom Culture and the Ephemeral Archive in the 1990s." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu159361168956799.

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15

Saraogi, Avantika. "The Bollywood Item Number: From Mujra to Modern Day Ramifications." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/215.

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This thesis deals with the “item number” genre of Bollywood song and dance sequences. I argue that the item song has evolved from a combination of the historically rich culture of prostitution in old India and the western influence of modern times; and that it contributes highly to the male dominated patriarchal society perpetuated by Hindi films by means of the voyeuristic male gaze and objectification of the female body. In conjunction with this research I choreographed a dance called Item No. 3 that was performed in Scripps Dances 2013. A discussion of the significance and decisions behind the choreography is also included in this written document. A record of the performance as available on DVD through the Scripps College Dance Department or at http://www.youtube.com/watch?v=PVNztFuezEc.
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16

Willis, Rachel Elizabeth. "Souveraines de corps frontaliers: Narrating Quebec's Insurgent Girlhood." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1490809671748857.

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17

Neal, Madelyn Grace. "Feminist Reclamations of the Patriarchal Representation of Linear Time in Film and Literature." Miami University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=miami1624466870121231.

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18

Horton, Owen R. "REBOOTING MASCULINITY AFTER 9/11: MALE HEROISM ON FILM FROM BUSH TO TRUMP." UKnowledge, 2018. https://uknowledge.uky.edu/english_etds/75.

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Conceptions of masculinity on film shifted after the September 11, 2001 terrorist attacks from representations of male heroism as invulnerable, powerful, and safe to representations of male heroism as resilient, vengeful, and vulnerable. At the same time, the antagonists of these films shifted towards representations as shadowy, unknowable, and disembodied. These changing representations, I argue, are windows into the anxieties Americans faced in the aftermath of the attacks. The continuing presentation of power as linked to violence, however, illustrates the ways in which conceptions of masculinity have stayed the same.
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19

Blumberg, Lucy E. "A Tale of Two Sisters: An Exploration of the Marquis de Sade and 21st Century Western Cultural Production." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/717.

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The Marquis de Sade has a notorious reputation amongst academics as a continuous figure of fictional and cultural studies. His characters, stories, and writings carry weight in modern interpretations of gender dynamics, pornographic aesthetics, and the alternative fantastical. This thesis will explore the Marquis de Sade’s most famous characters, Justine and Juliette, as means to define the Marquis’ significance to 21st Century Western culture production, particularly in Lars Von Trier’s Antichrist and E.L. James’ Fifty Shades of Grey. Exploring the female protagonists (or main characters) of the separate works, the correlations of subjugation, constructed morality, and the constructs of femininity become important markers for understanding the Marquis’ dissemination of his philosophies on gender, violence, and indulgent sexuality that leads to conversations on pornographic aesthetics in our modern period. Despite being dead for nearly 200 years, the Marquis de Sade’s relevance parades on in ideologies regarding female identity and sexual desires of the extreme.
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20

Kulbaga, Theresa A. "Trans/national subjects genre, gender, and geopolitics in contemporary American autobiography /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150386546.

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21

Hayes, Leda Hayes. "The Lost Boy." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1510933652950512.

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22

Gaswint, Kiera M. "A Comparative Study of Women's Aggression." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1523032004159866.

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23

Remse, Christian. "Vodou and the U.S. Counterculture." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1368710585.

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24

Lucas, Rowan. "Out of the Margins: Evolving Narrative Representation of Women in Video Games." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5882.

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This thesis examines narrative representation of female characters in video games and how game narratives and representations contribute to socio-cultural discourse. First, this thesis explores and defines the cultural background for female representation in video games. It then defines video games as a type of text and describes the features that are unique to games, such as the use of avatars, and what impacts these features have on game narratives. The thesis attempts to establish evidence of an evolutionary arc of comprehensive female representation in video games by first exploring historical female narrative tropes, and then comparing them to narrative case studies of female characters within five recent game titles (Tomb Raider, Bayonetta, Dragon Age, Hellblade: Senua’s Sacrifice, and Horizon: Zero Dawn). In these case studies, the implications for their representations of female characters are analyzed in the context of socio-cultural discourse. Furthermore, this thesis argues for the importance of diverse representation within video games as a form of media, and as cultural objects that contribute to social discourse.
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25

Main, Sarah. ""Enacting the Story of Her Life": The Written Legacies and Enduring Mis/Perceptions of Zelda Fitzgerald." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564749555581709.

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26

Kollman, Kathleen Taylor. "If She Were President: Fictional Representations of Female U.S. Presidents in Film, Television, and Literature in the Twentieth Century." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586964467931721.

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27

Markodimitrakis, Michail-Chrysovalantis. "Gothic Agents Of Revolt: The Female Rebel In Pan's Labyrinth, Alice's Adventures In Wonderland And Through The Looking Glass." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1460074928.

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28

Wardell, Kathryn Brenna. "The rake's progress: Masculinities on stage and screen." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11457.

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viii, 261 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
My dissertation analyzes the rake, the libertine male, a figure whose liminal masculinity and transgressive appetites work both to stabilize and unsettle hegemony in the texts in which he appears. The rake may seem no more than a sexy bad boy, unconnected to wider social, political, and economic concerns. However, my project reveals his central role in reflecting, even shaping, anxieties and desires regarding gender and sexuality, race and ethnicity. I chart the rake's progress from his origins in the Restoration era to the early twenty-first century. Chapter II examines William Wycherley's comedy The Country Wife in concert with John Dryden's Marriage à la Mode and Aphra Behn's The Rover to analyze the rake's emergence in seventeenth-century theatre and show that his transgression of borders real and figurative plays out the anxieties and aspirations of an emerging British empire. Chapter III uses John Gay's ballad opera The Beggar's Opera, a satiric interrogation of consumerism and criminality, to chart the rake in eighteenth-century British theatre as Britain's investment in global capitalism and imperialism increased. My discussion of Opera is framed by Richard Steele's early-century sentimental comedy The Conscious Lovers and Hannah Cowley's late-century The Belle's Stratagem, a fusion of sentiment and wit. Chapter IV hinges the project's theatre and film sections, analyzing Oscar Wilde's fin-de-siècle comedy The Importance of Being Earnest as a culmination of generations of theatre rakes and an anticipation of the film rakes of the modern and post-modern eras. Dion Boucicault's mid-century London Assurance is used to set up Wilde's queering of the rake figure Chapter V brings the rake to a new medium, film, and a new nation, the United States, as the figure catalyzes American tension over race and gender in early twentieth-century films such as Cecil B. DeMille's The Cheat, George Melford's The Sheik, and Ernest Lubitsch's Trouble in Paradise. My final chapter reads contemporary films, including Jenniphr Goodman's The Tao of Steve, Chris Weitz and Paul Weitz's About a Boy, and Gore Verbinski's trilogy Pirates of the Caribbean for Disney Studios, to assess the ways in which millennial western masculinity is in stasis.
Committee in charge: Dianne Dugaw, Co-Chair; Priscilla Ovalle, Co-Chair; Kathleen Karlyn; John Schmor
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29

Howell, Danielle Marie. "Cloning the Ideal? Unpacking the Conflicting Ideologies and Cultural Anxieties in "Orphan Black"." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1460059315.

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30

Breedlove, Allegra B. "Hamlet #PRINCEOFDENMARK: Exploring Gender and Technology through a Contemporary Feminist Re-Interpretation Of Hamlet." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/667.

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31

Mulholland, Rebekkah Yisrael. "Cullah Mi Gullah, African American Female Artists and the Sea Islands: Exploring Africanisms and Religious Expressions in Creative Works." Wright State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=wright1340413742.

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32

Anderson, Joshua Tyler Anderson. "The Bodies Belong to No One: Missing and Murdered Indigenous Men in Literature and Law, 1934-2010." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531047437469823.

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33

Ruben, Jennifer Lynn. "Illusionary Strength; An Analysis of Female Empowerment in Science Fiction and Horror Films in Fatal Attraction, Aliens, and The Stepford Wives." Wright State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=wright1355753729.

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34

Hutton, Zina. "Queering The Clown Prince of Crime: A Look at Queer Stereotypes as Signifiers In DC Comics’ The Joker." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3702.

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The goal of this thesis is to explore the way heterosexism and homophobia are present in the coding that has created an implied and monstrous queer identity for the Joker, present in many versions of the character over the past forty years. Through close readings of several of the Joker’s most iconic appearances, queer theory texts, and analytical essays on pop culture, this paper will analyze the use of queer signifiers present in the comics and the way that these portrayals of the Joker are rife with harmful and heterocentric perceptions of what comic creators have seen as necessary signifiers for queerness. Additionally, I will be using knowledge gleaned from my own preexisting work with fan and cultural studies in order to talk about the way that this portrayal of the Joker has been developed within fandom/fan communities and how it is continually replicated in superhero media.
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Caton, Hannah Noelle. "A Rhetorical Analysis of Modern Day Retro-Sexism: Misogyny Masked by Glamour in Mad Men." University of Findlay / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=findlay1439993165.

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36

Dupré, Brett. "Lost in Space No Longer: The Visionary Union of 'The Wire'." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1433.

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In its serial space, David Simon’s The Wire season two relates the seemingly “disconnected” union men, foreign sex worker women, and African-American drug traders and crosses constructed boundaries of race, gender, sexuality, and geography to evoke the possibility of a transnational working class. The Wire’s serialized narrative trespasses the limitations of money and numbers games and of individual characters to build, scene by scene, what Roderick Ferguson calls in Aberrations in Black: Toward a Queer of Color Critique “the location for new and emergent identifications and social relations” (108).
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Bernsmeier, Jordan. "From Haunting the Code to Queer Ambiguity: Historical Shifts in Adapting Lesbian Narratives from Paper to Film." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1386011853.

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Talero, Álvarez Paula. "WHY KATNISS EVERDEEN IS OUR FAVORITE FEMINIST – AN ANALYSIS OF THE HEROINE OF THE HUNGER GAMES FILM SAGA AND HER RECEPTION BY YOUNG FEMALE SPECTATORS." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5583.

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THROUGH THE FIGURE OF FICTIONAL CHARACTER KATNISS EVERDEEN, THIS DISSERTATION STUDIES HOW THE FILM INDUSTRY SIMULTANEOUSLY ENTRENCHES AND DISRUPTS GENDER, SEXUAL, AND RACIAL NORMATIVITIES. THE PROJECT USES TEXTUAL ANALYSIS AND PARTICIPANT RESEARCH TO ANALYZE HOW THE FILMS AND NOVELS OF THE HUNGER GAMES SAGA ENCAPSULATE BOTH DOMINANT AND ALTERNATIVE CONCEPTIONS RELATED TO FEMININITY, MASCULINITY, WOMANHOOD, AND MOTHERHOOD. IT ALSO EXPLORES IF AND HOW THE FEMALE HEROINE CAN BE READ AS FEMINIST AND PRODUCES A SENSE OF EMPOWERMENT. I CONCLUDE THAT ALTHOUGH THE INDUSTRY IS PRODUCING NEW MODELS OF WOMANHOOD THAT CHALLENGE TRADITIONAL GENDER ROLES, IT STILL PERPETUATES ROMANTIC IDEALS AND IDEALIZES THE HETEROSEXUAL NUCLEAR FAMILY AS THE ULTIMATE PATH TO FULFILLMENT FOR WOMEN. THE RESULTS OF THE PARTICIPANT RESEARCH SHOW THAT WHILE YOUNG WOMEN ARE CRITICAL OF CERTAIN ASPECTS OF THE SAGA, OVERALL THEY VALUE HAVING STRONG FEMALE CHARACTERS IN FICTION TO WHOM THEY CAN RELATE.
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Kurash, Jaclyn Rose. "Mechanical Women and Sexy Machines: Typewriting in Mass-Media Culture of the Weimar Republic, 1918-1933." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1440348446.

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40

Gontovnik, Monica. "Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.

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41

Poulsen, Emelie. "Superman and Wonder Woman to the rescue : “Man of Steel” and “Wonder Woman” as pedagogical aids to discuss gender in the EFL classroom." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-81680.

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As the American superhero films continue to increase their popularity around the globe, and because of the reccurent criticism against their poor and stereotypical representation, this essay aims to analyse the two newly made productions Man of Steel and Wonder Woman from a gender perspective. The essay argues a difference in Superman and Wonder Woman’s superhero images and further discussess the opportunities as well as potential problems the superhero narratives can offer to discuss gender in the EFL classroom.
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Brinkman, Eric M. "Inclusive Shakespeare: An Intersectional Analysis of Contemporary Production." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1595003420023716.

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O'Hara, Mark William. "Foucault and Film: Critical Theories and Representations of Mental Illness." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1415896906.

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44

Palumbo, Allison P. "STRONG, INDEPENDENT, AND IN LOVE: FIGHTING FEMALE FANTASIES IN POPULAR CULTURE." UKnowledge, 2016. http://uknowledge.uky.edu/english_etds/35.

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During the late 1970s and 1980s, feminist critics like Janice Radway began to reconsider so-called women’s genres, like romance novels and soap operas and melodramas, in order to address the forms of subversion and expressions of agency they provided female audiences. However, in spite of greater willingness to consider the progressive potential in romance narratives, there has been little such consideration given to stories of romance for the fighting female character—defined as a protagonist who uses violence, via her body or weapons, to save herself and others. The fighting female has received a good deal of attention from critics like Yvonne Tasker, Sherrie Inness, Rikke Schubart, and Phillipa Gates because she enacts transgressive forms of femininity. However, the typical response has been to ignore the intimate or romantic relationships she has with men or to critique them based on the assumption that such hetero-relationships automatically limit her agency and attenuate her representation as a feminist-friendly heroine. This view presumes that female empowerment opposes or can only be imagined outside the dominant cultural narratives that generally organize women’s lives around their hetero-relationships—whether sexual or platonic, familial or vocational. As I argue, some fighting female relationship narratives merit our attention because they reveal a new cache of plausible empowered female identities that women negotiate through their intimacies and romances with men. These negotiations, in turn, enable innovative representations of male-female relationships that challenge long-standing cultural scripts about the nature of dominance and subordination in such relationships. Combining cultural analysis with close readings of key popular American film and television texts since the 1980s, my dissertation argues that certain fighting female relationship themes question regressive conventions in male-female intimacies and reveal potentially progressive ideologies regarding female agency in mass culture. In essence, certain fighting female relationship narratives project feminist-friendly love fantasies that reassure audiences of the desirability of empowered women while also imagining egalitarian intimacies that further empower women.
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45

Camara, Samba. "Recording Postcolonial Nationhood: Islam and Popular Music in Senegal." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1510780384221502.

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Oladosu, Olayinka Abdulahi. "Femininity and Sexual Violence in the Nigerian Films, Child, not Bride, October 1 and Sex for Grades." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1621857462497919.

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McCollum, Alexandra Noelle. "Freaks and Masculinity: Sideshow Performers in German and American Cinema." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1384269323.

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Johnson, Rebecca E. "The New Gatekeepers: How Blogs Subverted Mainstream Book Reviews." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4596.

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Book reviewing has a fraught history in the United States. Reviewers have long been accused of not being analytical enough. It should be no wonder then with the emergence of social media that online book reviewing has become increasingly popular. Online reviewers, especially book bloggers, are no literary gatekeepers in their own right, shaping the tastes of readers across the world. Book blogs in particular pay special attention to titles which have long been derided by institutions such as libraries, academia, publishers, and bookstores. These literary gatekeepers typically ignore romance, fantasy, mystery, science fiction, young adult fiction, comic books, and certain kinds of children’s literature, calling it lowbrow. Book bloggers, though, demonstrate that such genre fiction is much more than escapist, mixing enjoyment with the literary. In addition, book blogs create space for women who have been systematically excluded from reviewing. The primary way that they do this is by subverting the male gendered language and structure of reviews.
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Panzeca, Andrea. "You Don't Have to Be Good." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1979.

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You Don't Have to be Good, is a nonfiction collection of prose, poetry and graphic memoir set in New Orleans, central Florida, and points in between. In this coming-of-age memoir, I recall the abrupt end of my dad's life, the 24 years of my life in which he was alive, and the years after his death—remembering him while living without him in his hometown of New Orleans. Along the way there are meditations on language, race, gender, dreams, addiction, and ecology. My family and I encounter Hurricane Katrina and Mardi Gras, and at least one shuttle launch. These are the stories I find myself telling at parties, and also those I've never voiced until now.
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Bohlmann, Markus P. J. "Moving Rhizomatically: Deleuze's Child in 21st Century American Literature and Film." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23140.

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My dissertation critiques Western culture’s vertical command of “growing up” to adult completion (rational, heterosexual, married, wealthy, professionally successful) as a reductionist itinerary of human movement leading to subjective sedimentations. Rather, my project proposes ways of “moving rhizomatically” by which it advances a notion of a machinic identity that moves continuously, contingently, and waywardly along less vertical, less excruciating and more horizontal, life-affirmative trails. To this end, my thesis proposes a “rhizomatic semiosis” as extrapolated from the philosophy of Gilles Deleuze and Félix Guattari to put forward a notion of language and, by implication, subjectivity, as dynamic and metamorphic. Rather than trying to figure out who the child is or what it experiences consciously, my project wishes to embrace an elusiveness at the heart of subjectivity to argue for continued identity creation beyond the apparently confining parameters of adulthood. This dissertation, then, is about the need to re-examine our ways of growing beyond the lines of teleological progression. By turning to Deleuze’s child, an intangible one that “makes desperate attempts to carry out a performance that the psychoanalyst totally misconstrues” (A Thousand Plateaus 13), I wish to shift focus away from the hierarchical, binary, and ideal model of “growing up” and toward a notion of movement that makes way for plural identities in their becoming. This endeavour reveals itself in particular in the work of John Wray, Todd Field, Peter Cameron, Sara Prichard, Michael Cunningham, and Cormac McCarthy, whose work has received little or no attention at all—a lacuna in research that exists perhaps due to these artists’ innovative approach to a minor literature that promotes the notion of a machinic self and questions the dominant modes of Western culture’s literature for, around, and of children.
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