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Theus, Tyler A. "Hitchcock and the Material Politics of Looking: Laura Mulvey, Rear Window, and Psycho." Digital Archive @ GSU, 2013. http://digitalarchive.gsu.edu/communication_hontheses/3.
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In this essay, I argue that issues of voyeurism and scopophilia raised in Laura Mulvey’s early essay, “Visual Pleasure in Narrative Cinema,” are closely related to the social and economic shifts which occurred during the post-war period. Specifically, I argue that Mulvey’s essay articulates a particular kind of formal technique associated with what she calls “non-narrative scopophilia,” a kind of long-take shot that is utilized to great effect by Alfred Hitchcock in two of his later films, Rear Window (1955) and Psycho (1960). I argue that these shots represent a disruption to the smooth functioning of the classical Hollywood model of narrative and gender ideology in the post-war period tied closely to the changing economic realities of the period. I further argue that such a disruption is closely related to a new model of consumerism that emerges during this period.
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Lööf, Jenny. "An Inquisitive Gaze: Exploring the Male Gaze and the Portrayal of Gender in Dragon Age: Inquisition." Thesis, Stockholms universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-117976.
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This paper provides an account of how a normative male gaze is produced and upheld even in a video game famed for its inclusive nature, Dragon Age: Inquisition. The analysis originates in content studies concerning the portrayal of gender in video games in relation to in-game physical gender portrayal. It is followed by a contextualization of specific video sequences and certain game mechanics in relation to Laura Mulvey’s feminist film theory about the Male Gaze. Mulvey’s film theory approach, while useful as an intellectual tool, is not developed to be applied to video games and thus it is also necessary to consider any implications related to the interactivity of the game. As characters are subjected to a gendered male gaze in relation to both their physical appearance and attributes they are made to uphold the normative status quo. The Gaze is evident in how characters are portrayed, how the main character becomes a default male character regardless of actual gender and in the construction of women as something other. But most importantly, in the actual game mechanics through which all characters become objects for the player to use either in combat or to own in the guise of offering romance to the narrative.
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Lindquist, Viktoria, and Ida Cavallin. "And the Oscar goes to... : En feministisk filmanalys av de karaktärer som spelas av kvinnor som vunnit en Oscar för bästa kvinnliga huvudroll mellan åren 2010 - 2015." Thesis, Högskolan i Gävle, Media- och kommunikationsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-24657.
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Brandt, Zippy. "Flickigt och oseriöst eller sexistiskt? : En retorisk analys av Final Fantasy X-2." Thesis, Uppsala universitet, Avdelningen för retorik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-210664.
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Davis, Claudia M. "The Objectification of Women in Cane." Cleveland State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=csu1386770950.
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Bailey, Dorie. "Beefing Up the Beefcake: Male Objectification, Boy Bands, and the Socialized Female Gaze." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/743.
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In the traditionally patriarchal Hollywood industry, the heterosexual man’s “male gaze,” as coined by feminist film theorist Laura Mulvey, is the dominant viewing model for cinematic audiences, leaving little room for a negotiated reading of how visual images are created, presented, and internalized by male and female audiences alike. However, as Hollywood’s shifting feminist landscape becomes increasingly prevalent in the mainstream media, content incorporating the oppositional “female gaze” have become the new norm in both the film and television mediums. Through an extended analysis of the gaze as socialized through gendered learning in children, the “safe space” afforded through the formulaic platform of “boy bands,” and the function of romantic comedies and the emerging feminist rhetoric prevalent in such films as “Magic Mike: XXL,” the conceptual “female gaze” is defined and explored through the demographic of young girls as they grow and push their understanding of desire, particularly as they develop into the mature, media-cosuming women that have become increasingly vocal in the Hollywood sphere.
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Rydqvist, Ryan Ebba. "Kvinnliga monster och abjekt femininitet : En semiotisk och psykoanalytisk studie av femininitet, feminism och monsterkroppen i tv-serien Penny Dreadful." Thesis, Stockholms universitet, JMK, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131165.
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Studien undersöker hur kvinnliga karaktärer representeras i relation till skräcktematiken i tv-serien Penny Dreadful (2014-). Syftet har varit att studera huruvida det som är typiska kännetecken för skräck kan kopplas till kvinnlighet, femininitet och feminism (det senare då man kan uppfatta ett genuskritiskt samtal i serien). Med hjälp av psykoanalytiska teorier kring abjektion visar analysen hur det som är skrämmande med kvinnor, är skrämmande på andra sätt än vad som är skrämmande med män. Det som är abjekt med kvinnan definieras ofta utifrån hennes sexualitet och biologiska egenskaper, och skapar därmed en feminin monstrositet och således är helt olik den manliga. Detta har till stor del växt fram genom historiska myter, religioner och konst, som har bidragit till könsspecifika monster utifrån stereotyp femininitet, så som häxor, sirener eller Medusa. Genom att utforska tv-seriens karaktärer med hjälp av semiotiska och psykoanalytiska verktyg avslöjas möjliga tolkningar som visar hur nämnda feminina monster tycks grunda sig i manlig rädsla och kvinnan som hot. Kastrationskomplexet som bidragande faktor och den manliga blicken tycks därför kväsa uttryck för kvinnlig frigörelse i serien, genom att sexualisera, plåga och göra kvinnan abjekt och monstruös i direkt genmäle till dessa. Serien tycks därför trots sin genuskritiska diskurs kontrolleras av en manlig blick och ett skoptofiliskt seende, något som möjligtvis bidrar till att kvinnlighet och femininitet kodas som abjekt, och i värsta fall stigmatiserar den feministiska kvinnan.Reviderad upplaga
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Geimer, Alexander. "Cultural Studies und Geschlecht." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-219545.
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In den Anfängen der Cultural Studies in der Birmingham School spielte Geschlecht eine eher untergeordnete Rolle. Bald wurden jedoch auch feministische Positionen herangezogen, um Ungleichheiten der Alltagspraxis zu erklären, die nicht klassentheoretisch zu fassen waren. In den Arbeiten von Rubin und Mulvey beispielsweise werden Geschlecht bzw. Geschlechtsunterscheidungen und -ungleichheiten durch makrosoziale Wissensstrukturen und kollektive Praktiken reproduziert.
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Tadic, Maria. "Nymphomaniac - porträttet av den skandinaviska nymfen? : En feministiskt driven närläsning." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-107083.
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Nymphomaniac represents yet another complex art-movie by director Lars von Trier. The reception amongst film critics is seemingly incoherent about whether the film reproduces misogynist values or if the film could be perceived as feminist. This thesis aims to explore how Laura Mulvey’s theory of the male gaze still applies and provides tools for examination together with the intersectional approach, to decode and identify patriarchal conventions. As whiteness is inextricably linked to patriarchal structure it is discussed throughout this thesis and in a separate chapter. Hence this thesis suggests an intersectional feminist critical analysis to be the most adequate method to examine this movie and to fully comprehend how different elements of power coexist to suppress women and racialized people within the context of Nymphomaniac. This thesis concludes that von Trier does not only embrace the male gaze, he also occasionally rejects it.
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Plumley, Bailey. "Self-Inclusion of the Queer Body in Barbara Hammer's 'Superdyke Meets Madame X' (1975)." Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1620157460893929.
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Geimer, Alexander. "Cultural Studies und Geschlecht." Universität Hamburg, 2013. https://ul.qucosa.de/id/qucosa%3A15359.
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In den Anfängen der Cultural Studies in der Birmingham School spielte Geschlecht eine eher untergeordnete Rolle. Bald wurden jedoch auch feministische Positionen herangezogen, um Ungleichheiten der Alltagspraxis zu erklären, die nicht klassentheoretisch zu fassen waren. In den Arbeiten von Rubin und Mulvey beispielsweise werden Geschlecht bzw. Geschlechtsunterscheidungen und -ungleichheiten durch makrosoziale Wissensstrukturen und kollektive Praktiken reproduziert.
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Byrén, Nils. "Moores gaze : En komparativ analys av ikoniskt och lingvistiskt framställt våld mot kvinnliga karaktärer i tre graphic novels av Alan Moore." Thesis, Uppsala universitet, Avdelningen för retorik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-323781.
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Seriemediet inkorporerar lingvistiska och ikoniska tecken för att uttrycka etiska, moraliska, sociala och politiska budskap, vilka kan slätas över av en underhållande och tilltalande form. Detta gör mediet lämpligt för en retorisk analys. Ett omdiskuterat ämne inom seriemediet är dess gestaltning av kvinnor, å ena sidan i form av stereotypa könsroller och underrepresentation av verkligt intressanta kvinnliga karaktärer, å andra sidan sexualiserande porträtteringar, våld och övergrepp. Denna uppsats undersöker hur våld mot kvinnor gestaltas i mötet mellan olika typer av bilder och texter i ett och samma serieförfattarskap. Undersökningen genomförs med hjälp av Roland Barthes ”Rhétorique de l’image” (1964) och teorin om the male gaze som Laura Mulvey diskuterar i artikeln ”Visual pleasure and narrative cinema” (1975). Analysen inspireras av en komparativ metod beskriven av Lennart Hellspong i Metoder för brukstextanalys (2001). Uppsatsen granskar utdrag ur Watchmen, Batman: The Killing Joke och The League of Extraordinary Gentlemen av Alan Moore, en av vår tids mest ansedda författare inom seriemediet, också känd för att porträttera våld mot kvinnliga karaktärer. Uppsatsens påvisade en ambivalens i porträtterandet av våld mot kvinnor i utdragen ur Alan Moores graphic novels, samt behovet av att problematisera såväl Alan Moores serier som Laura Mulveys the male gaze, men också möjligheten att använda hennes och Barthes teorier inom retorikdiskursens och seriemediets ramar för att granska hur samspelet mellan bild och text kan uttrycka olika typer av budskap och attityder.
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Mohlin, Anna. "Den lesbiska blicken : En undersökning av blick och betraktarskap utifrån tre målningar av Romaine Brooks." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-18132.
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This paper aims to investigate the terms and conditions of a lesbian gaze and a lesbian spectatorship from a feminist and queer theoretical point of view. The empirical material consists of three paintings by the American artist Romaine Brooks (1874-1970). Brooks was based in Paris in the early 20th century where she was surrounded by a group of intellectual and usually cross-dressing lesbians. The women within this context are the ones depicted in Brooks’ paintings and this makes her one of the first artists in modernity to openly portray lesbian and cross-dressing women. Her paintings lead into new conditions for the traditional understanding of spectatorship as well as female positions, since there is no male involvement or presence within the interactive space surrounding these paintings. The survey tries to further investigate and break down already existing theories concerning spectatorship with the main focus on Laura Mulvey’s the male gaze, termed in the essay “Visual Pleasure and Narrative Cinema” (1975). The queer theoretical approach in this paper is based on Judith Butler’s performativity, which then is attached to gaze theories in order to investigate the active and passive positions found in Brooks’ paintings. The paper does also include an analysis of the male gaze in relation to modernism, avant-garde, canon and subsequently the reason behind Brooks’ absence in modernist canon.
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Evans, Philippa A. "Nudus amor formam non amat artificem : representations of gender in elegiac discourse." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017895.
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This thesis explores the representation of gender, desire, and identity in elegiac discourse. It does so through the lens of post‐structural and psychoanalytic theory, referring to the works of Michel Foucault, Judith Butler, Jessica Benjamin, and Laura Mulvey in their analyses of power, gender performativity, and subjectivity. Within this thesis, these concepts are applied primarily to the works of Tibullus, Propertius, and Sulpicia, ultimately demonstrating that the three love elegists seek, in their poetry, to construct subversive discourses which destabilise the categories by which gender and identity were determined in Augustan Rome. This discussion is supplemented by the investigation of Ovid’s use of elegiac discourse in Book 10 of his Metamorphoses, and the way in which it both comments upon Augustan love elegy and demonstrates a number of parallels with its thematic content. This thesis focuses especially on the representation of power relations within elegiac discourse, the various levels on which such relations operate and, finally, the possibilities for the contestation of and resistance to power, in addition to the motivations that might lie behind the poet‐lover’s frequent attraction and submission to it.
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Reddy, Maya S. "The Rainbow Effect: Exploring the Implications of Queer Representation in Film and Television on Social Change." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/953.
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In this thesis, I explore how specific films and television shows use the preexisting structure and mechanics of narrative film in order to create queer characters and stories that defy their otherness and stereotypes, thus creating a profound cinematic experience. Not only does the manipulation of these structures and mechanics heighten the realism and depth of the narrative at hand, it also enhances audience identification by allowing queer viewers to find themselves and straight viewers to understand the “other.” In this manner, the New New Queer Cinema and television have had lasting effects on the modern gay rights movement, changing perceptions and attitudes of society on an extremely personal level and making way for incredible strides in public policy changes.
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Lundgren, Helena. "Omslag till böcker och DVD-filmer : en jämförande studie av visuell kommunikation i omslagen till Män som hatar kvinnor och Niceville." Thesis, Högskolan på Gotland, Institutionen för humaniora och samhällsvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-1555.
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This thesis is about covers of books and DVD movies. I have tried to find out if the visual communication of the covers differs between the book and movie with the same story. Do they appeal to different target groups? I have also been trying to find out what designers can do to increase the visibility of covers among others. Are there certain rules to follow for making a cover visible? To reach a conclusion I have been studying components in advertising pictures, since covers work as a kind of advertiser for the product. I have also been studying visual communication and how designers use advertising pictures to communicate with the observer. Semiotics, advertising and comparisons between the covers have been my method for analyze. I have come to the colclusion that covers of books and DVD movies do communicate in different ways and partly to different target groups. There are certain rules to follow if you want to increase the visibility of a picture among others. The results indicate that the book covers have an older target group than the DVD covers.
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Lemmerz, Lara Elisa Verfasser], Jun [Akademischer Betreuer] [Okuda, and Robert Emmit [Akademischer Betreuer] Mulvey. "Molekulare Magnesiumhydride und bimetallische Lithiumhydridoaluminate / Lara Elisa Lemmerz ; Jun Okuda, Robert Emmit Mulvey." Aachen : Universitätsbibliothek der RWTH Aachen, 2019. http://d-nb.info/1192217969/34.
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Lemmerz, Lara Elisa [Verfasser], Jun [Akademischer Betreuer] Okuda, and Robert Emmit [Akademischer Betreuer] Mulvey. "Molekulare Magnesiumhydride und bimetallische Lithiumhydridoaluminate / Lara Elisa Lemmerz ; Jun Okuda, Robert Emmit Mulvey." Aachen : Universitätsbibliothek der RWTH Aachen, 2019. http://d-nb.info/1192217969/34.
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Gradinari, Irina. "Feministische Filmtheorie." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-219800.
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Feministische Filmtheorien erforschen Kino als kulturelle Institution und untersuchen vor allem seine geschlechtsspezifischen Repräsentationsstrategien, seine Subjektivitätskonzepte und seine geschlechterdifferenten Produktions- und Rezeptionsbedingungen. Ihre Anfänge nahmen sie während der zweiten Frauenbewegung der 1960er Jahre. Gesucht werden u. a. Gegenentwürfe zur männlichen Perspektive populärer Filme, in denen Frauen als passive Objekte fungieren.
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Gradinari, Irina. "Feministische Filmtheorie." Humboldt-Universität, 2015. https://ul.qucosa.de/id/qucosa%3A15370.
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Feministische Filmtheorien erforschen Kino als kulturelle Institution und untersuchen vor allem seine geschlechtsspezifischen Repräsentationsstrategien, seine Subjektivitätskonzepte und seine geschlechterdifferenten Produktions- und Rezeptionsbedingungen. Ihre Anfänge nahmen sie während der zweiten Frauenbewegung der 1960er Jahre. Gesucht werden u. a. Gegenentwürfe zur männlichen Perspektive populärer Filme, in denen Frauen als passive Objekte fungieren.
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Kruel, Rodrigo Moraes. "Políticas públicas saudáveis no município de Lauro Muller – SC: uma análise territorial." reponame:Repositório Institucional da UNESC, 2017. http://repositorio.unesc.net/handle/1/5468.
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Projeto de dissertação submetido para aprovação no exame de qualificação do Programa de Pós-Graduação em Saúde Coletiva (Mestrado Profissional) da Universidade do Extremo Sul Catarinense.O estilo de vida se caracteriza por hábitos ou comportamentos adquiridos que podem ou não levar a doenças, compreendendo estes comportamentos e hábitos entende-se melhor os fatores de risco e pode-se estar contribuindo para a diminuição de enfermidades e principalmente para efetivação da Promoção da Saúde. O objeto da pesquisa foi avaliar as políticas públicas saudáveis do município de Lauro Muller. A população do estudo constitui-se por 639 moradores da cidade de Lauro Muller de ambos os sexos. O presente estudo consiste em uma análise transversal de abordagem quantitativa. De acordo como o instrumento que avalia a mobilidade ativa em ambiente, o estudo apresentou que o município de Lauro Muller não dispõe de ambientes favoráveis para o desenvolvimento de políticas públicas saudáveis, no entanto a iniciativa para a criação de ações comunitárias, apresentou escore positivo de 76,3% na promoção de ações a favor da saúde e nos aspectos de avaliação da qualidade de vida, os resultados apontaram que a população possui boa capacidade funcional (74,7%), o índice para limitações físicas foi de 72,2% e a percepção do estado geral de saúde apresentou baixo índice com média de 53,6%. O estudo sugere que apesar de haver ações de promoção de saúde, estas não influenciam na melhora de saúde da população e que o município não dispõe de ambientes propícios para a mudança de comportamento dos moradores além de não possuir habilidades pessoais na adoção de hábitos saudáveis.
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Oliveira, Jozilene Ivete de. "Corpo, representação e identidade no universo da prostituição inscrito em A noiva escura, de Laura Restrepo." Universidade Estadual da Paraíba, 2014. http://tede.bc.uepb.edu.br/tede/jspui/handle/tede/2460.
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A lo largo de la historia de la humanidad, la prostitución es vista como forma de transgresión femenina, por (en)carnar la sensualidad. Por ser “lugar vernal de la sexualidad”, la prostituta “es” capaz de subvertir las normas, los patrones morales de la sociedad. Su imagen prevaleció – y sobrevive hasta hoy – en el imaginario social como fuerte símbolo de alteridad, representación de la figura femenina fatale, enigmática en su poder de seducción y imaginariamente libre, afectando la condición de la mujer en la sociedad y contribuyendo para la construcción de una identidad femenina. Sus trayectorias, lejos de la representación de la mujer casta, pura, ignoran la apología del discurso erudito cristiano de sujeción del cuerpo femenino. En este contexto, el cuerpo es erótico, abyecto, sagrado, social, capaz de engendrar las subjetividades de esas mujeres prostituidas y motivo de rendición y/o declino, ciudadanía y/o exclusión, lugar de investimento de deseo y de impulsos deseosos, por lo tanto, múltiplo, sin unidad. Puesto eso, no hay como pensarlo destituido de un proceso de simbolización, una vez que él es resultado de una historia, siempre intercambiada por el Otro y por deseos. Ya que el surgimiento de un patrón de comportamiento impuesto a la mujer es construido en función de modelos (culturales, sociales, psicológicos, históricos y religiosos), la obra A noiva escura ofrece un punto de vista subjetivo, femenino de la prostitución a través de un reportaje- ficción, y pone en cuestionamiento prejuicios del nivel social, de la raza, del género, permitiendo la construcción de nuevas redes simbólicas de subjetivación. De esta manera, el presente estudio busca apuntar los elementos críticos presentes en la referida obra, para pensar en la corporeidad como sustrato identificatorio de esas mujeres prostituidas, pues, el cuerpo de Sayonara amalgamado al mito de La Melinche , articula a través del deseo y de la insatisfacción, de la orden y del caos, representaciones de configuraciones identitarias femeninas. Para tanto, utilizaremos teóricos como Paz (1998); Bartra (1987); Bataille (1980); Landowski (2002): Filordi (2010); entre outros.
Ao longo da história da humanidade, a prostituição é vista como forma de transgressão feminina, por (en)carnar a sensualidade e o desabrochamento. Por ser “lugar venal da sexualidade”, a prostituta “é” capaz de subverter as normas, os padrões morais da sociedade. Sua imagem prevaleceu – e sobrevive até hoje – no imaginário social como forte símbolo da alteridade, representação da figura feminina fatale, enigmática no seu poder de sedução e imaginariamente livre, afetando a condição da mulher na sociedade e contribuindo para a construção de uma identidade feminina. Suas trajetórias, longe da representação da mulher casta, pura, ignoram a apologia do discurso erudito cristão de sujeição do corpo feminino. Nesse contexto, o corpo é tido como erótico, abjeto, sagrado, social, capaz de engendrar as subjetividades dessas mulheres prostituídas e causa de redenção e/ou decaída, cidadania e/ou exclusão, lugar de investimento de desejo e de pulsões desejantes, portanto, múltiplo, sem unidade. Isso posto, não há como pensá-lo destituído de um processo de simbolização, uma vez que ele é resultado de uma história, sempre intercambiada pelo Outro e por desejos. Nesse sentido, o surgimento de padrão de comportamento imposto à mulher é construído em função de modelos (culturais, sociais, psicológicos, históricos e religiosos), a obra A noiva escura, de Laura Restrepo,oferece um ponto de vista subjetivo, feminino da prostituição através de uma reportagem-ficção, e põe em questão preconceitos de classe social, de raça, de gênero, permitindo a construção de novas redes simbólicas de subjetivação. Dessa forma, o presente estudo procura mostrar os elementos críticos presentes na referida obra, para pensar a corporeidade como subtrato identificatório dessas mulheres prostituídas, pois o corpo de Sayonara (protagonista de A noiva escura), amalgamado ao mito de La Malinche, articula, através do desejo e da insatisfação, da ordem e do caos, representações de configurações identitárias femininas. Para tanto, utilizaremos teóricos como Paz (1992;1995); Bartra (1987); Bataille (1980); Landowski (2002); Filordi (2010); entre outros.
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White, Mary C. "From text to practice : rereading Laura Mulvey's 'Visual pleasure and narrative cinema' towards a different history of the feminist avant-garde." Thesis, Loughborough University, 2007. https://dspace.lboro.ac.uk/2134/10913.
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The thesis proposes that there have been a series of responses in visual practice to Laura Mulvey's article 'Visual Pleasure and Narrative Cinema' (1975) from 1975 to 2000. As Mulvey's article was and still is an exemplary text its contribution to film and visual theory is well documented, however, this has overshadowed any contribution the article has made to visual practices. As Mulvey, at the time of writing the article, was an avant-garde film maker the thesis examines how the article emerged from a context of visual practice. The first chapter establishes the location of 'Visual Pleasure and Narrative Cinema', broadly summarising its arguments and the commentaries that proceeded from it, noting that many of these commentaries failed to acknowledge its emergence from visual practices. The next chapter explores the context of Mulvey's film-making practice, its content and location amongst other film makers and groups contemporary with it. Chapter 3 looks at the work of key feminist film makers during the 'visual pleasure' moment that immediately followed the publication of Mulvey's article and re-states their importance. The following chapter broadens the argument and examines two visual practices that were not film-based, photo-text and tape-slide, but which took up Mulvey's ideas strategically to explore language and sexual difference in the 1980s. The final chapter looks at how questions of pleasure became vital for a generation of black, gay and lesbian artists during the 1990s in response to, and even in rejection of, Mulvey's earlier work. My aim is to highlight some key practices, mostly in the UK, exploring their heterogeneous nature through context and location, to show a network of practices where Mulvey's legacy can be seen through shared concerns and approaches. This reconstitutes a history and argues that Mulvey's work is part of a framework, which has a legacy to practice, as well as to theory.
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Bender, Marisa. "Zoneamento ambiental e avaliação dos recursos hidricos na sub-bacia do Rio Rocinha, municipio de Lauro Muller, SC." Florianópolis, SC, 1998. http://repositorio.ufsc.br/xmlui/handle/123456789/78020.
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Dissertação (mestrado) - Universidade Universidade Federal de Santa Catarina. Centro de Filosofia e Ciencias HumanasMade available in DSpace on 2012-10-17T09:37:55Z (GMT). No. of bitstreams: 0Bitstream added on 2016-01-09T00:13:04Z : No. of bitstreams: 1 149225.pdf: 55739393 bytes, checksum: b8081c13d4ea417d9888dda0fc1f6e2c (MD5)
A área de estudo, sub-bacia do Rio Rocinha, está localizada no Município de Lauro Mülier, sul do Estado de Santa Catarina e pertence a bacia hidrográfica do Rio Tubarão. A sub-bacia, com 47,52 kM2, tem as suas nascentes nas escarpas da Serra Geral, um dos mais expressivos potenciais turísticos de Santa Catarina, e sua foz nas proximidades de uma área degradada pela mineração e pelo beneficiamento do carvão mineral. Com o objetivo de avaliar a qualidade das águas da sub-bacia, a fim de caracterizar o impacto das atividades de exploração do carvão, foram analisados sulfatos, acidez, pH, oxigênio dissolvido, ferro, cobre, zinco, manganês, cromo, níquel, chumbo, sólidos dissolvidos e sólidos suspensos ao longo do Rio Rocinha, em seu principal afluente Rio Carvão, na foz do Rio Bonito e no Rio Tubarão a jusante da confluência dos rios Rocinha e Bonito. A caracterização da sub-bacia, cuja base cartográfica foi digitalizada a partir das cartas topográficas do IBGE, na escala 1:50.000, foi realizada através dos mapas temáticos de geologia, geomorfologia, solos, declividade, hipsometria e uso do solo, sendo os três primeiros obtidos junto ao Gerenciamento Costeiro do Estado de Santa Catarina (IIa fase), enquanto os demais foram elaborados como parte do presente trabalho. O cruzamento destes mapas temáticos, realizado via geoprocessamento, com o auxílio do programa IDRISI, associado às informações de qualidade das águas, resultou em um zoneamento em que a área da sub-bacia é delimitada em distintas unidades. Para cada unidade são apresentadas as potencialidades e/ou limitações de usos que visam contribuir para uma melhor gestão e recuperação ambiental da área.
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Silva, Andréia Bispo dos Santos. "O sujeito feminino e a política de assistência social: uma análise da condição da mulher beneficiária do Programa Bolsa Família – estudo de caso no Município de Lauro de Freitas - Bahia." Universidade Catolica de Salvador, 2014. http://hdl.handle.net/123456730/266.
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Esta pesquisa tem como objeto de estudo a condição da mulher beneficiária do Programa Bolsa Família (PBF) e trata das relações de gênero que estão imbricadas nesse programa de transferência de renda condicionada. O principal objetivo é analisar as condições sociais e materiais de existência das mulheres beneficiárias do programa e a possibilidade de esse promover autonomia e empoderamento às mulheres que atuam como sujeitos partícipes. Compreendende-se o empoderamento como uma ação reflexiva e/ou inflexionada que transforma o sujeito em “agente ativo”, que circula como ator/atriz em dimensões políticas, sociais, econômicas e culturais. A dissertação investiga as relações entre esse programa de renda mínima e uma perspectiva de gênero com foco em desigualdades sociais. A abordagem analítica privilegia o debate sobre políticas com perspectiva de gênero, o programa de transferência de renda condicionada (PBF) e o papel atribuído às mulheres nesse contexto. Discute-se a divisão sexual do trabalho e os tempos sociais femininos. A investigação de cunho qualitativo, mediante o estudo de caso, tem como ponto de partida as vivências das mulheres beneficiárias do PBF de Lauro de Freitas, município da Região Metropolitana de Salvador. É utilizada a técnica de pesquisa bibliográfica e empírica, com depoimentos coletados nas entrevistas e em observações. A amostra da pesquisa é composta por 20 mulheres beneficiárias do Programa e moradoras do Conjunto Residencial D. Lindu. Problematizam-se as percepções das mulheres sobre o Programa, com relação à autonomia, divisão sexual do trabalho, os tempos sociais femininos e o empoderamento. Os estudos revelam que no Programa Bolsa Família o empoderamento da mulher perpassa a autonomia adquirida pelo manejo do benefício, uma vez que tal independência está condicionada por responsabilidades eticamente assumidas com os filhos e a família, mas fica muito aquém como mecanismo estrutural de retirada das mulheres da pobreza e de uma condição que lhes possibilite se modelar como sujeitos no feminino.
This research aims to study the condition of the Bolsa Família Program (BFP) beneficiary women and deals with gender relations embedded in this conditional cash transfer program. The main objective is to analyze the social and material conditions of existence of the program beneficiary women, and the possibility it may promotes autonomy and empowerment to women who act as participating subjects. It is to understand empowerment as a reflective and/or inflecting action that transforms the subject into "active agent" who circulates as an actor/actress in political, social, economic and cultural dimensions. The thesis investigates the relationship between this minimum income program and a gender perspective with a focus on social inequalities. The analytical approach highlights the debate about policies with a gender perspective, the program of conditional cash transfer (PBF) and the role assigned to women in this context. The sexual division of labor and women's social times are discussed. A qualitative nature research has as starting point through the case study on experiences of PBF beneficiary women at Lauro de Freitas, a municipality in the Metropolitan Region of Salvador. The technique of bibliographic and empirical research with testimonies collected in the interviews and observations is used. The survey sample consists of 20 women beneficiaries of the program and residents of Conjunto Residencial D. Lindu. Women's perceptions about the program, with respect to autonomy, sexual division of labor, women's empowerment and social times are problematized. Studies reveal that in the Bolsa Família Program women's empowerment involves the autonomy they have from the benefit of management, since such autonomy is constrained by ethical responsibilities assumed with the kids and family, but falls short as a structural mechanism for withdrawal of women from poverty and an empowerment that allows them to model themselves as female subjects.
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Rodrigues, Miguel Moreira. "Análise Indiscreta." Master's thesis, 2014. http://hdl.handle.net/10400.6/5689.
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A presente dissertação tem como objetivo reinterpretar “Visual Pleasure and Narrative Cinema” (1975), ao apresentar uma leitura diferente da que Laura Mulvey tece, nesse ensaio, sobre os filmes Rear Window (1954) e Vertigo (1958), ambos da autoria de Alfred Hitchcock. No seu ensaio, Mulvey defende a tese de que o cinema clássico de Hollywood apresenta o protagonista masculino como ativo, no sentido de ser o dono do olhar, controlando a personagem feminina, e de dominar o desenrolar da ação. Diferentemente, a personagem feminina cumpre um papel passivo, ao ser aquela que, apresentando-se como um objeto erótico, é alvo do olhar masculino. Segundo Mulvey, Rear Window e Vertigo exemplificam estas suas ideias. Por ser o protagonista masculino aquele que é ativo, Mulvey vê-o como a única opção de identificação por parte do espetador (masculino e feminino). Dito isto, posso dizer que, num sentido mais específico, viso mostrar como as protagonistas femininas de Rear Window e Vertigo não têm apenas um papel passivo e são capazes de levar a que o espetador feminino se identifique com elas.
Após a publicação de “Visual Pleasure and Narrative Cinema”, surgiram alguns trabalhos focados no papel do espetador feminino, criticando a tese de Mulvey que toma o espetador como um todo. Estes estudos centraram-se particularmente nos filmes de Hitchcock, sendo este um dos realizadores mais estudado no campo dos estudos feministas. Trabalhos focados em Rear Window e em Vertigo que visam apresentar uma leitura alternativa à de Mulvey, abordando a questão do espetador feminino, da possível identificação com a protagonista e deixando de associar apenas o papel ativo ao homem e o passivo à mulher, serão igualmente aqui abordados, servindo de apoio para a construção das minhas análises fílmicas.
No final da dissertação, irá chegar-se à conclusão de que as protagonistas de Rear Window e Vertigo se revelam ativas e conseguem suscitar um mecanismo de identificação por parte do espetador feminino.This dissertation aims to reinterpret "Visual Pleasure and Narrative Cinema" (1975), presenting a different reading from Laura Mulvey of the movies Rear Window (1954) and Vertigo (1958), both directed by Alfred Hitchcock. In her essay, Mulvey advocates the thesis that classical Hollywood cinema presents the male protagonist as active, in the sense that he dominates the course of action and is the owner of the gaze, controlling the female character. In contrast, the female character plays a passive role, presenting herself as an erotic object and the target of the male gaze. According to Mulvey, Rear Window and Vertigo exemplify these ideas. Since the male protagonist is the active character, Mulvey sees him as the only option for identification by the spectator (male and female). In a more specific sense, I intend to show how the female protagonists of Rear Window and Vertigo don’t have only a passive role and are also able to cause the female spectator to identify with them. After the publication of "Visual Pleasure and Narrative Cinema", several studies appeared, concentrating in the role of the female spectator and criticizing Mulvey for taking the spectator as a whole (male and female). These studies have focused particularly in Hitchcock’s movies, making him one of the most studied directors in the field of the feminist research. A few studies focused in Rear Window and Vertigo aimed at offering an alternative reading to Mulvey’s proposal, addressing the question of the female spectator, the possible identification with the female protagonist and undermining the rigid association between active/masculine and passive/feminine. These studies will be supporting my filmic analysis in this thesis. At the end of the dissertation, we will conclude that the female protagonists of Rear Window and Vertigo have an active role in the story and can lead to an identification mechanism by the female spectator.
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Astapencov, Neli. "Proměny genderových archetypů ve filmu Hořký měsíc." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-326358.
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The thesis deals with gender analysis in films studying metamorphoses of archetypes in film Bitter Moon directed by Roman Polanski. The methodical and theoretical sections of the thesis analyse the influence of archetype changes of film characters in gender roles. The thesis identifies and analyses mainly woman film characters appearing in some classical feminist texts, feminist film theoretical and critical articles, in some psychoanalytical works, in dramatheraphy and film science. The sources mentioned above became primary resource materials for our archetypal research. The analysis of each of the film character is focused on the most distinctive archetype with respect to its metamorphosy. Apart from the archetype research the thesis is marginaly concerned with problems linked to the female ideal and her sexuality usually portrayed in an unalterable way, and archetypal patterns are in such a way transmitted to audiences through femininity and masculinity in the context of gender roles. Keywords: archetype, Roman Polanski, Laura Mulvey, Annis Pratt, cinematic archetypal coherence, feminist film criticism, film narrative analysis, archetypal masculinity, archetypal femininity.
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Daňková, Andrea. "Genderová analýza vývoje ženských hrdinek v animované tvorbě Walta Disneyho." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-405760.
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The thesis addresses analysis of stories and narrative in relation to the subject of gender. This analysis primarily deals with fairy tale The Beauty and the Beast by Disney. The first part is about general theoretical basis for my thesis and about the most important authors in this field. Archetypes and logocentrism topics are dealt with partially as well. The foundations of the first part are however literary and motion-picture feministic theories, also the concept of the myth of beauty. In the practical part sequences of the The Beast and the Beauty are studied. Findings described in theoretical part is utilized here and the marked and subtle influence of androcentric culture on style and content of the story is shown.
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Moreira, Ofélia. "O relaxamento Laura Mitchell e a função respiratória: alterações induzidas pelo relaxamento nas trocas gasosas em grávidas no terceiro trimestre." Master's thesis, 2012. http://hdl.handle.net/10400.26/6672.
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Muller, Laure [Verfasser]. "Einfluss von Ausdauertraining auf die zerebrale Repräsentation von Gedächtnisvorgängen im Alter : eine PET-Aktivierungsstudie / vorgelegt von Laure Muller." 2006. http://d-nb.info/98157128X/34.
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Azevedo, Ana Ondina da Cruz Leorne Soares de. "A Teoria do Gaze em Stanley Kubrick." Master's thesis, 2011. http://hdl.handle.net/10362/131772.
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A presente dissertação propõe uma aproximação analítica à obra cinematográfica de Stanley Kubrick (de Lolita a Eyes Wide Shut) a partir da teoria do Gaze, enunciada na 2ª metade do século XX como relevante para o estudo da relação sujeito/objecto e consequente identificação espectatorial nas práticas artísticas. Partindo das bases psicanalíticas desta teoria - Sigmund Freud e principalmente Jacques Lacan, sendo progressivamente acrescentados laivos das teorias de Christian Metz, Laura Mulvey ou Jean-Loup Bourget, apenas para dar alguns exemplos -, pretendeu-se a sua aplicação aos objectos fílmicos kubrickianos, recorrendo a conceitos como voyeur, poder, domínio, frustração ou apropriação. A centralidade das questões sexuais inerente a esta teoria foi também alvo de uma aproximação e análise cuidadas, especialmente no que diz respeito ao questionamento feito pelos movimentos feministas em relação às bases do Gaze e à identidade do sujeito como sendo do género masculino. Os conceitos de loucura e exclusão social foram também enfatizadas através de uma abordagem particular, principalmente por se relacionarem com as relações de poder, permitindo o recurso às teorias de Michel Foucault (“the medical Gaze”). É então proposto um olhar sobre determinado objecto artístico (que aqui se define como a obra fílmica de Kubrick) à luz da sua análise segundo a teoria do Gaze como teoria de aproximação e reflexão estético-artísticas.The following dissertation seeks an analytic approach to Stanley Kubrick’s film work (from Lolita to Eyes Wide Shut) through the theory of the Gaze, which was presented during the second half of the XXth century as relevant when it comes to study the relationship between subject/object and the consequent spectactorial identification in Art practice. Beginning with the psychoanalytic basis provided by Sigmund Freud and especially Jacques Lacan (and progressively entering the theories of Christian Metz, Laura Mulvey or Jean-Loup Bourget, only to mention a few examples), the main purpose is to apply the theory to Kubrick’s filmic objects using concepts such as voyeur, power, domination, frustration or appropriation. The emphasis given to sexuality issues is inherent to the mentioned theory and appears also as one of the main focuses of the present analysis, especially when it comes to the questioning made by feminist movements regarding the main basis of the Gaze and the identity of the subject as being masculine. The concepts of madness and social exclusion play a great part in the present dissertation as well, mostly for their connection with the relationships of power, allowing therefore the reflexion that was provided by some of Michel Foucault’s theories (“the medical Gaze”). What is suggested here, then, is to look at an artistic object (defined here as Kubrick’s work) through an analysis based in the theory of the Gaze, being the latter an important tool to aesthetic and artistic approaches/reflexions.