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Pichaske, Kristin. "Colour adjustment : race and representation in post-apartheid South African documentary." Doctoral thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8248.
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The goal of this dissertation is to examine the process of racial transformation within South Africa's documentary film industry and to assess how the nation's shifting identity is both influenced by and reflected in documentary film. Drawing examples from a diverse collection of local and international films, I have examined changes in who is making documentaries in South Africa and how, as well as the representations of race that result. In particular, I have focused on how the balance of insider vs. outsider storytelling may be shifting and to what effect. At the same time, I have qualitatively examined the representations produced by black/insider filmmakers as compared to those of white/outsider filmmakers in order to assess the impact of the filmmaker's racial status on outcomes. Finally, I have investigated ways in which the tradition of white-onblack storytelling must change in order to satisfy the political shift that has taken place in South Africa and the cultural sensitivities that have resulted.
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Keenan, Sharon M. "A Choreographic Exploration of Race and Gender Representation in Film and Dance." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1002.
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Through extensive research which culminates in a choreographic component, this thesis explores the lack of diverse representation within artistic and entertainment industries in regards to race and gender. In pursuit of a concise argument, most of the focus is on race and the conditioned view of gender as binary. Looking specifically at dance and film, it considers and analyzes why this absence persists, along with ways to ensure progress. The analysis and exploration unfolds in five central chapters: Research, Conception of the Dance, One and the Same, and Try It On Make It Fit. By detailing all that goes into creating a space that consistently hinders representation of minorities, this project will provide a better understanding of how minority communities are affected as a result. With this knowledge, I hope to present solutions that are simple with an attempt to demonstrate the urgency for new methods that expand portraits of diverse and authentic representations outside of the “norm.” The significance of this project lies in the articulation of an issue that is too often ignored. Change will not happen until it becomes unacceptable for people to remain ignorant and complacent on the subject.
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Haygarth, Natalie. "UK press discourses surrounding representations of rape in film and the subject of male violence against women." Thesis, University of East Anglia, 2018. https://ueaeprints.uea.ac.uk/67822/.
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Representations of rape in film have contributed significantly to the mass of representations of rape present in popular culture. The attention these have attracted, and continue to attract, from audiences, cultural critics and academics is substantial. What has often been overlooked, and what this study does, is explore how these films have been discussed across the U.K. national popular press (including individual newspapers’ online counterparts). Developing on the work of scholars working in the area of film publicity and critical reception who have suggested that film criticism may be socially impactful, this thesis contends that press discussions of films that include representations of rape contribute to discourses surrounding rape that circulate in society and culture and that, as such, they play a part in the construction of specific frameworks of thinking about rape and other forms of male violence against women. Paying particular attention to the language used to describe the rape, the language used to describe the female characters who are raped, and language used to describe the male perpetrators of rape, this thesis demonstrates how press discussions of mainstream films that include representations of rape can reinforce, propagate, challenge and reject rape myths and misconceptions surrounding rape and other forms of male violence against women.
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Rosén, Rebecca. "Rape-revenge film: "empowering" eller förnedrande sexualisering av kvinnor? : en jämförande analys av Paul Verhoevens Elle gentemot tradition." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-65607.
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Denna uppsats handlar om rape-revenge film. Närmare bestämt undersöker den hur de kvinnliga karaktärerna representeras i de utvalda filmerna och om, och i så fall hur, de kan ses som ”empowering” eller om det endast handlar om en sexualiserande porträttering av våld mot kvinnor. Uppsatsen använder sig utav en film- och textbaserad analys och den grundläggande teorin för uppsatsen är den feministiska filmteorin, samt teorier om kvinnor i rape-revenge. De tre filmerna som står i fokus är I Spit on Your Grave (Meir Zarchi, 1978), Ms. 45 (Abel Ferrara, 1981) och Elle (Paul Verhoeven, 2016). Slutresultatet visar att de tre filmerna inte porträtterar deras våldtäktsscener på ett sexualiserat eller erotiskt sätt utan snarare framhäver brutaliteten i våldet för åskådarna i form av bland annat karaktärsidentifiering med offret istället för våldtäktsmannen. Däremot, skiljer sig filmerna i hur deras respektive kvinnliga karaktärer väljer att hämnas och huruvida deras agerande kan ses som empowering eller inte. Av de tre filmerna är Elle den som tydligast uppvisar olika versioner av empowering och hur det som stärker en person är väldigt individuellt.
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Hafström, Theo, and Maja Jonsson. "Svarta kroppar och vita blickar : En komparativ studie av samhällskritiken i filmerna Get Out och Play." Thesis, Uppsala universitet, Medier och kommunikation, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448087.
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There is an ongoing debate in the media about whether or not caucasian filmmakers should be telling stories about racism and the black experience. This study aims to further the discussion by examining and comparing social criticism in the two feature-length films Play and Get Out, made by caucasian filmmaker Ruben Östlund and African American filmmaker Jordan Peele respectively. Using a multimodal critical discourse analysis grounded in Stuart Hall and Richard Dyer’s theories on representation and stereotyping, the study investigates what discourses regarding race and stereotypes are present in the films. The study shows that both films raise social criticism by references to the historical and contemporary racial discourse and depicting how the white characters act upon their racial prejudice. However, while Östlund attempts to have his audience reflect on their own behaviour and prejudices, the racist implications made by the white characters in Play, along with the black characters stereotypical manners, are often left unconfrontented and therefore reconstructs the racial order. Peele, however, manages to deconstruct the racial order through usage of more creative interdiscursive elements which highlight the importance of a shared black experience, exposing the privileged and racially charged actions of the white characters in Get Out and the vulnerable position of its black characters.
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Tobin, Erin C. "Campy Feminisms: The Feminist Camp Gaze in Independent Film." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594039952349499.
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Camp, Nathan. "Not So Elementary: An Examination of Trends in a Century of Sherlock Holmes Adaptations." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157536/.
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This study examines changes over time in 40 different Sherlock Holmes films and 39 television series and movies spanning from 1900 to 2017. Quantitative observations were mixed with a qualitative examination. Perceptions of law enforcement became more positive over time, the types of crime did not vary, and representation of race and gender improved over time with incrementally positive changes in the representation of queer, mentally ill, and physically handicapped individuals. The exact nature of these trends is discussed. Additionally, the trends of different decades are explored and compared. Sherlock Holmes is mostly used as a vehicle for storytelling rather than for the salacious crimes that he solves, making the identification of perceptions of crime in different decades difficult. The reasons for why different Sherlock Holmes projects were created in different eras and for different purposes are discussed.
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Chatelain, Megan E. "Minority Representations in Crime Drama: An Examination of Roles, Identity, and Power." Scholarly Commons, 2020. https://scholarlycommons.pacific.edu/uop_etds/3716.
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The storytelling ability of television can be observed in any genre. Crime drama offers a unique perspective because victims and offenders change every episode increasing stereotypes with each new character. In other words, the more victims and criminals observed by the audience, the more likely the show creates the perception of a mean world. Based on previous literature, three questions emerged which this study focused on by asking the extent of Criminal Minds’ ability to portray crime accurately compared to the Federal Bureau of Investigations Uniform Crime Report (UCR) and the Behavioral Analysis Unit’s (BAU-4) report on serial murderers and how those portrayals changed over the fifteen years of the show. A content analysis was conducted through the lens of cultivation theory, coding 324 episodes which produced a sample size of 354 different cases to answer the research questions. Two additional coders focused on the first, middle, and last episodes of each season (N=45) for reliability. The key findings are low levels of realism with the UCR and high levels of realism with the BAU-4 statistics. Mean-world syndrome was found to be highly likely to be cultivated in heavy viewers. Finally, roles for minority groups did improve overtime for Black and Brown bodies, yet Asian bodies saw a very small increase in representation. LGBT members were nearly nonexistent. The findings indicated that there is still not enough space in television for minority roles and found that the show perpetuated stereotypes. Additional implications and themes include a lack discourse on violence and erasure of sexual assault victims.
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Bullard, Angela Denise. "The representation of rape in Sir Philip Sidney's Arcadias." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2826.
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This thesis examines the complex and conflicting arguments surrounding the crime of rape in early modern England and how the important literary texts, Sir Philip Sidney's Arcadias, explore the issue of rape. The thesis explores Sidney's attitude toward a system that sanctioned systematic sexual violence towards women as expressed in the text; as part of this it explores the way that the text differentiates rape from seduction.
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Rafferty, Barclay. "Adaptations of Othello : (in)adaptability and transmedial representations of race." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/12075.
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This thesis examines adaptations of William Shakespeare’s The Tragedy of Othello, the Moor of Venice (c. 1601–4) across media, comparing cinematic, televisual, musical, visual art, and online adaptations, among others, in an endeavour to determine its adaptability in various periods and cultural and societal contexts, with a focus on the issue of race. Shakespeare’s seeming endorsement of a racial stereotype has proved to be challenging in adaptations, which have not always been successful in either reproducing or interrogating the issue, despite the fact that the play has continuously been engaged with across media, periods, and cultures. Resultantly, the thesis considers the ways in which the race issues present in Othello have been exploited, adapted ‘faithfully’, ignored, and negotiated in different contexts. Sustained consideration of representations of the race issues of the play from a Western perspective has not been undertaken previously and this thesis analyses the use of Othello as a vehicle for commenting on and reflecting contemporary current events through the lenses of adaptation theory and the singular history that adaptations of Shakespeare’s work have. Initially, the thesis explores national readings of screen adaptations (from the United States, Great Britain, and outside the Anglo-American gaze), before grouping adaptations by media (such as music and online videos, as well as allusions in other media), deducing why specific adaptive trends have endured in Othellos, examining the relationship between the adaptability of the play and the media in which it is placed. A pertinent question addressed is: what is Othello’s place in adaptations of Shakespeare’s work – and how adaptable is it when both black and white performers and adapters perpetuate racial stereotypes? One conclusion drawn is that – despite its prevalence across media – Othello is inadaptable when its race issues are linked – through various methods – to the contexts in which it is placed, changing them in the process.
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Nyh, Johan. "From Snow White to Frozen : An evaluation of popular gender representation indicators applied to Disney’s princess films." Thesis, Karlstads universitet, Institutionen för geografi, medier och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36877.
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Simple content analysis methods, such as the Bechdel test and measuring percentage of female talk time or characters, have seen a surge of attention from mainstream media and in social media the last couple of years. Underlying assumptions are generally shared with the gender role socialization model and consequently, an importance is stated, due to a high degree to which impressions from media shape in particular young children’s identification processes. For young girls, the Disney Princesses franchise (with Frozen included) stands out as the number one player commercially as well as in customer awareness. The vertical lineup of Disney princesses spans from the passive and domestic working Snow White in 1937 to independent and super-power wielding princess Elsa in 2013, which makes the line of films an optimal test subject in evaluating above-mentioned simple content analysis methods. As a control, a meta-study has been conducted on previous academic studies on the same range of films. The sampled research, within fields spanning from qualitative content analysis and semiotics to coded content analysis, all come to the same conclusions regarding the general changes over time in representations of female characters. The objective of this thesis is to answer whether or not there is a correlation between these changes and those indicated by the simple content analysis methods, i.e. whether or not the simple popular methods are in general coherence with the more intricate academic methods.Betyg VG (skala IG-VG)
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Horeck, Tanya Christine. "More intimate than violence : rape, feminism and the civic bond." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310667.
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Kometani, Ikuko. "Dismembering and remembering bodies : representation of rape in early Jacobean England." Thesis, University of Birmingham, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.556459.
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I shall argue that rape, sexual threat and sexual violence in the early Jacobean drama fascinate the playwrights not only because they are the psychologically and socially interesting phenomena which break boundaries such as those between male and female, life and death, rape and marriage, the private and the public, but because the dynamic of sexual violence and its repetitive enaction on stage provide a complex analogy to theatrical performance and language, together with response in a culture that tends to conceive of theatrical experience in erotic terms, and of certain sexual impulses as highly theatrical in character. Both rape and theatrical discourse violate the "natural" socio-political, and gender hierarchy. Theatrical enactment, I shall argue, is a particularly appropriate way of depicting rape as a violent and emotional event, and conversely, rape attracts dramatists because it provides a way of reflecting upon some of the more troubling aspects of the relationship between the beholder and the beheld. The following dramatic works will be examined: Thomas Middleton's The Revengers Tragedy, The Maiden's Tragedy, Thomas Heywood's The Rape of Lucrece, John Fletcher's The Tragedy of Bonduca, The Tragedy of Valentinian, and The Queen of Corinth.
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Henry, Claire. "Rape-revenge revisions : case studies in the contemporary film genre." Thesis, Anglia Ruskin University, 2012. http://arro.anglia.ac.uk/701525/.
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Rape-revenge is one of cinema studies' neglected genres, even in spite of the plethora of examples globally over the past decade. This thesis redresses the lack of critical attention with an account of the contemporary genre that analyses the politics, ethics, and affects at play in the filmic construction of rape and its reponse. Each chapter examines a significant trend or aspect of the contemporary genre through in-depth case studies, expanding the study of rape-revenge from socio-political or psychoanalytic perspectives to also include embodied, phenomenological perspectives and ethical issues. The case studies - including 'The Last House on the Left' (Wes Craven, 1972/Dennis Iliadis, 2009), 'I Spit on Your Grave' (Meir Zarchi, 1978/Steven R. Monroe, 2010), 'Kill Bill Vol. 1 & 2' (Quentin Tarantino, 2003/2004), 'Sympathy for Lady Vengeance' (Park Chan-Wook, 2005), 'Teeth' (Mitchell Lichtenstein, 2007), 'Hard Candy' (David Slade, 2005), 'The Girl with the Dragon Tattoo' ('Män som hatar kvinnor') (Niels Arden Oplev, 2009), 'Descent' (Talia Lugacy, 2007), 'Katalin Varga' (Peter Strickland, 2009), and 'Twilight Portrait' ('Portret v sumerkakh') (Angelina Nikonova, 2011) - are framed in terms of rape-revenge's temporal, cross-media, and cross-cultural shifts, and also placed within the broader cultural myths and media narratives about rape. The contemporary genre reinscribes dominant, conservative cultural myths about rape and the appropriate response (eye for an eye revenge), while at the same time presenting interesting explorations of rape trauma and ethics and self-reflexive challenges to spectating violence. Ambivalence also manifests in these films in that they both attest to the ongoing cultural relevance and popularity of rape-revenge narratives, and yet push the genre's limits and explore the possibility of responses to rape other than revenge. This research finds the rape-revenge genre to be a flexible format with certain limitations but also great potential for political, affective, and ethical exploration of rape and responses to rape.
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Koonce, Richard. "The symbolic rape of representation a critical analysis of black musical expression." Saarbrücken VDM Verlag Dr. Müller, 2007. http://d-nb.info/984927018/04.
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Jamel, Joanna. "An investigation of the prevalence, response to, and representation of male rape." Thesis, University of Leicester, 2009. http://hdl.handle.net/2381/7407.
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Fourie, Elizabeth. "The representation of materialist consumerism in film." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/954.
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People are constantly bombarded with the latest technology, the latest fashion, the latest ‘must have’ item. We are encouraged to buy things that promise to change our lives and give us satisfaction or even create happiness. Interestingly we often succumb to the temptation of these material things, which is not always a negative reaction; however it does become negative when our lives are controlled by material possessions and we give up certain aspects of who we are to enable us to obtain these possessions. Further more it becomes problematic when we start to rely on material possessions to define us in terms of our identity or to help us fit into particular groups within society. With the media playing such a large role in societies at present it is almost inevitable that the phenomenon of materialist consumerism will make its way into the media. The media however holds control, to an extent, over whether or not materialist consumerism is viewed in a negative or affirmative light. An analysis of the representation of materialist consumerism in selected instances of mainstream cinema will be the aim of my proposed study. The study will look at the representation of materialist consumerism in so far as it offers viewers a place to ‘fit’ into a particular group within society. The group I am referring to can be categorised as the upper-middle class of contemporary western society. I have thus selected films that represent this group specifically. For the purpose of the treatise ‘materialist consumerism’ is understood as a way of life, or alternatively, an ideology, which assumes that the accumulation of material wealth through consumption imparts meaning to human lives. The treatise will analyse both sides of the coin, or in other words films that support or promote materialist consumerism and those that either revolt against or criticise this form of consumerism. The study will explore different aspects of consumerism in so far as these are represented in the films, with an identifiable axiological bias.
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Warren, Naomi Irene. "The politics of representation : a rhetorical analysis of Spike Lee's films, 1986-1998 /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/fullcit?p9959605.
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Sava, Laura. "Intermedial encounters : the representation of theatre in film." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/49180/.
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This thesis closely examines the representation of theatre in film, using insights derived from an ever-growing literature dedicated to the notion of intermediality, in order to understand film’s temporary disguise as another medium. With the realization that theatre is not just another object of representation in film, it becomes increasingly apparent that an analysis of theatre-in-film has the potential of serving as a catalyst for a complex reflection on the nature of mediation. The present dissertation studies the conditions under which this potential is realized. Throughout the thesis, I am integrating textual analysis with theoretical considerations, in an attempt to offer new readings of the chosen films and show how they cohere around four distinct problems pertaining to the issue of theatre-in-film. These problems can be spelled out as follows: the length and embedment of the theatrical inserts, the dual address of the represented performances, the relation between quoted theatre and theatricality and the problem of showing versus telling in the representation of theatre. The case studies were selected from a period spanning forty years; they range from Jacques Rivette’s 1968 L’Amour fou to Charlie Kaufman’s 2008 Synecdoche, New York. Through an in-depth analysis of these case studies, the chapters demonstrate that film is extremely versatile in the handling of theatre references, and that it is precisely this versatility that throws in crisis the existent intermedial discourse. I am arguing that staging a theatre event in film comes with its own set of challenges that need to be accounted for with the assistance of a suitable methodology. In a sense, I have devised my own methodology, by using intermediality studies in conjunction with concepts borrowed from narrative and drama theory, as well as with the analytical tools of film studies.
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Bendelhoum, Hadia Nouria. "TRAGIC MULATTA 2.0: A POSTCOLONIAL APPROXIMATION AND CRITIQUE OF THE REPRESENTATIONS OF BI-ETHNIC WOMEN IN U.S. FILM AND TV." CSUSB ScholarWorks, 2017. https://scholarworks.lib.csusb.edu/etd/598.
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This study analyzes the representations of five bi-ethnic women characters in U.S. mass media both before and after U.S. “post-racial” era, to find and expose evidence of the continuity and perpetuation of racist stereotypes against biracial/bi-ethnic women. I utilize a thematic textual analysis, supported by the theories, ideas, and critical views of postcolonial theorists Frantz Fanon, Gayatri Spivak, and Edward Said, and composed of three prominent themes which expose the nature of the representations of lead bi-ethnic characters in current mass media entertainment (TV programs and films). The themes further explored through this project are: bi-ethnicity (one Black parent and one White parent) as a) over exoticized or hypersexualized; b) inherently problematic; and c) destined for non-existence through invisibility, elimination, and even death. In a second step, I critically examine the theme of the tragic mulatta present in Imitation of Life (Hunder & Sirk, 1959), a film released during the epoch of the African-American Civil Rights Movement (1954-68), and the TV mini-series Alex Haley’s Queen (1993) to then highlight how it becomes immortalized transmedia (across diverse media platforms and historical moments) and ever-present in current “post-racial era” entertainment media film. To examine this, I compared one modern film and that portrayed a leading bi-ethnic woman–Dear White People (2014)– to then compare to the film mentioned above. I then compared TV programs that portray supporting bi-ethnic women characters in Suits (2011), Black-ish (2014), and Empire (2015) to then compare to the TV miniseries mentioned above. Finally, I contend that the presence of transmedia storytelling of the fixation, and manipulation of the supposed political correctness of the tragic mulatta archetype stands to reinforce its dominance in media portrayals. Moreover, the fragmentary existence is based on a lack of research and the indolent borrowing from previous archetypes.
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Stokes, Katherine. "Sexual violence and the authority to speak: the representation of rape in three contemporary novels." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32521.
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Gil Courtemanche's A Sunday at the Pool in Kigali, Bapsi Sidhwa's Cracking India and J.M. Coetzee's Disgrace depict periods of intense violence: the Rwandan genocide, the Partition of India, and post-apartheid South Africa. While these authors bring rape to the foreground as they explore massive social change and systemic brutality, Courtemanche, Sidhwa and Coetzee differ significantly in their treatment of sexual violence. Courtemanche decries physical violence but fails to acknowledge more subtle forms of abuse, constraining the voice of the raped female character. Examining Partition from a child's perspective, Sidhwa exposes some of the injustices faced by a survivor of rape, yet this survivor never talks about her experience. Coetzee's protagonist suppresses the voice of the woman he abuses, but insists that his daughter speak up when she is assaulted: her silence complicates the idea that speech about rape is necessarily progressive. An examination of these texts' treatment of speech and silence surrounding rape will test the possibilities for pro-survivor narratives of sexual violence within a rape culture.Un dimanche à la piscine à Kigali, de Gil Courtemanche, Cracking India de Bapsi Sidhwa et Disgrâce de J.M. Coetzee illustrent des périodes de violence intense : le génocide rwandais, la partition de l'Inde et l'Afrique du Sud après l'apartheid. Les trois auteurs mettent en scène le viol en explorant le changement social intense et la brutalité généralisée, mais Courtemanche, Sidhwa et Coetzee diffèrent dans leur traitement de la violence sexuelle de manière significative. Courtemanche dénonce la violence physique mais ne reconnaît pas les formes d'abus plus subtiles, astreignant ainsi la voix du personnage féminin violé. En examinant la partition de la perspective d'un enfant, Sidhwa expose les injustices auxquelles fait face une survivante de viol, mais la survivante ne parle jamais de son expérience. Le protagoniste de Coetzee réprime la voix de la femme dont il abuse, mais insiste pour que sa fille parle lorsqu'elle se fait agresser : son silence complique l'idée que le discours sur le viol est nécessairement progressif. Un examen du traitement du discours et du silence autour du viol dans ces textes mettra en question les possibilités de narrations sur la violence sexuelle d'un point de vue pro-survivant dans une culture du viol.
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Mohammed, Abdullah H. "The Representation of Globalization in Films About Africa." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1340130831.
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Kelber-Kaye, Jodi. "Straighten up and breed White: The representation of race and sexuality in films about reproductive technologies." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/289943.
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This dissertation is concerned with the monstrous, specifically as it enters our understanding of reproductive technologies, and is represented through a series of films, beginning in the 1930s. In looking at filmic representations of reproductive technologies, this study indicates how the use of, and the results from, those technologies are characterized as monstrous. Because technological reproduction is demarcated as monstrous, non-technological reproduction is naturalized. Importantly, this naturalized reproduction in the films is not only non-technological, but specifically derived from heterosex and racially consistent. In this examination, I argue that the kinds of cultural stories we tell about family-making resemble those we tell about gays and lesbians and non-whites: that in the twentieth- and twenty-first-century US, our culture operates under a double discourse in which those we pity become those whose lives we restrict. In the realm of reproduction, these seemingly contradictory positions enable attempts to limit or eradicate the reproduction of certain people, the egregiousness of which is ameliorated by expressions of sympathy for the life circumstances of those same people. The insights of this project are built on the naturalization of white, heterosexual reproduction in popular film, as well as the historical construction of desired reproduction through eugenics. Some feminist scholarship about reproductive technologies has directly linked those technologies to eugenic attempts to control reproduction, but do so by naturalizing motherhood and reproduction. The "unnaturalness" of reproductive technologies, in the form of masculine medical institutions, these writers claim, looks exactly like the masculine control of human reproduction during the eugenics movements. I seek to extend and complicate this scholarship by pointing out how such a reductive version not only negates the social welfare movements aspects of eugenics but also makes heterosexual reproduction via sexual activity the norm, thereby de-valuing gay and lesbian family-making. On the other side of the reproductive technologies issue, other feminist scholars herald these technologies as capable of eradicating inequitable social relations. Conversely, I argue, these technologies continue to exacerbate the system of differences through their re-inscription of the varying degrees of "quality" assigned to the reproduction of women of color.
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McKee, Alan. "Making race mean : the limits of interpretation in the case of Australian Aboriginality in films and television programs." Thesis, University of Glasgow, 1996. http://theses.gla.ac.uk/4783/.
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Academic work on Aboriginality in popular media has, understandably, been largely written in defensive registers. Aware of horrendous histories of Aboriginal murder, dispossession and pitying understanding at the hands of settlers, writers are worried about the effects of raced representation; and are always concerned to identify those texts which might be labelled racist. In order to make such a search meaningful, though, it is necessary to take as axiomatic certain propositions about the functioning of films: that they 'mean' in particular and stable ways, for example; and that sophisticated reading strategies can fully account for the possible ways a film interacts with audiences. These sophisticated readings can then by rendered as ontological statements, prefaced by such nonnegotiable phrases as: 'Jedda is ... .' his thesis suggests that such approaches fail to take account of the work involved in audiences making sense of these texts. Although the possible uses of a film or a television program are not infinite, neither is it possible to make final statements about a text's status. Rather, it is necessary to take account of various limits which are placed on the interpretations of texts, for different audiences at different moments. Moving the focus of attention away from feature films (which have traditionally encouraged the idea of a spectator constructed by the text) to include television programs (which have proven more difficult to write into such a project) facilitates this move to an understanding of Aboriginal representation more concerned with the work involved in its interpretations. This thesis addresses three main areas. Firstly, favoured modes of spectatorship validate particular practices of consumption. These have implications for the readings which will be made of Aboriginality. Secondly, sets of validated intertexts circulated as 'genres' and 'oeuvres'enable meaning to be made in particular ways. Finally, secondary texts(including academic work) which explicitly purport to explicate films and television programs provide frameworks within which interpretation can be made. Each of these limits works to close down the radical polysemy of television and film texts, enabling meaning to be made of them, and of the Aboriginality they purport to represent.
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Thompson, Julia Erwin. "Exploitative to Favorable, Freak to Ordinary: The Evolution of Disability Representation in Film." Ohio Dominican University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=odu1449053412.
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Gavhed, Kristina. "Using the New to get hold of the Old : self-representation, visual representation, and identity creation through new media." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3303.
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My BA-thesis deals with the matter of identity, and how the use of convergent and new media construct a prerequisite for identity construction. In what ways are socio-cultural exchangesvisible within these media? How do convergent and contemporary media help with representation of self and self-expression? I wanted to investigate how online social networks such as Facebook and blogs affect identity and if it changes the conditions under which identity is created. Through denotations and connotations others absorb this information and appropriate it before they in turn share it. I have performed interviews with four main sources who‟ve all revealed how they interact online. In an anonymous online survey five informants offered responses on their social networking habits as well, confirming that most people do not randomly search for information but are instead given information through already established contacts.The artistic presentation of my work began as a series of portraits of myself in various outfits.I then altered this to a brief film, where I copied my face onto bodies of models, similar to paper dolls – a way to represent the idea that by altering clothes my identity changes in the eyes of others, while on the inside I remain the same as I ever was. I then made two short films, about 5-6 minutes in length where I give two lessons: one on how to do a Victory Roll hairstyle, and one on how to put on a 1940‟s inspired make-up, similar to the tutorials one can find on Youtube.com. I then turned all three movies into a DVD, which I showed at the Konstfack Spring Exhibition. I created a small dressing room with the intent of having visitors try on clothes they might not otherwise wear. During the process of writing this essay I have come to the conclusion that we are constantly affected by input from sources around us. We are all part of a network, online and away from the keyboard, of a never ending flow of information. However, with the ever expanding availability of social media our sources increase and even a person who never leaves his or her city has many more options of broadening their horizons, of finding information possibly not available to them before. In regards to how this affects students and teachers it offers more freedom but also responsibility. Teachers must stay on top of new developments, as well as be up to date on new findings. Students now have the freedom to search for information outside the classroom, as well as outside their social cultural setting. Also, as contemporary and convergent media is largely image based even those who are illiterate can with the help of friends, or on their own, find many image sources and via this visual medium be part of the chain of information and expand their knowledge.
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Welch, Mark, University of Western Sydney, and Faculty of Nursing and Health Studies. "Reel madness : the representation of madness in popular western film." THESIS_FNHS_XXX_Welch_M.xml, 1997. http://handle.uws.edu.au:8081/1959.7/705.
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This thesis considers the representation of madness in popular film, in the main from the Western canon and English speaking, and argues that madness is seen and represented as an extreme of human experience, a form of Otherness, which throws into relief notions of ontology, sanity and personal and cultural identity. It progresses from a consideration of the historical representations of madness and sanity in art and literature to a review of the pertinent literature on cinema and representation, and uses seminal examples from throughout cinematic history mostly from English language films, from 1906-1996, to illustrate the argument. Alternative methodological approaches are considered for the insights they may provide, and also for the contribution they make to the development of the thesis, in particular the influence of semiotics. A number of stereotypical portrayals of madness, such as the 'mad scientist', the 'crazed murderer', and the 'doomed heroic outsider' are examined in detail. Finally, the thesis proposes the way madness, and mad people, are represented in popular film is reflective and indicative of social and cultural concerns over what can be known, how identity can be established and what it means to live in the contemporary world fraught with uncertainty, anxiety and changeDoctor of Philosophy (Hons)
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Welch, Mark. "Reel madness : the representation of madness in popular western film /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030915.132224/index.html.
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Harper-Ditmar, Susan. "The representation of history in British feature film 1933-50." Thesis, University of Westminster, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302968.
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Bâ, Saër Maty. "Malcolm X and the documentary film representation : text and intertext." Thesis, University of Exeter, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430093.
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McLoone, Martin. "Representation and identity : film, television and the media in Ireland." Thesis, University of Ulster, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274096.
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Elliott, Andrew Brian Ross. "Recreation and representation : the Middle Ages on film (1950-2006)." Thesis, University of Exeter, 2009. http://hdl.handle.net/10036/88498.
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In evaluating the Middle Ages on film, this thesis combines two different critical approaches, drawn from historiography on one side and semiotics on the other. In the first chapter, I argue that historiographic criticism has largely undermined our belief in a monolithic, objective History, and that modern historical enquiry contains a tacit admission of its own subjectivity. In Chapter Two, I use these admissions to argue the case for history on film, demonstrating that in terms of the construction of history, the processes of filmmaking closely resemble those of ‘doing’ history, and that criticisms of historical films are often the same criticisms which Historians raise in respect of their own works of ‘pure history’. In the remaining chapters (3-6), I look at specific examples of types of historical character, drawn from the medieval separation of society into “those who work, those who fight and those who pray”, as well as “those who rule”. In each case, I adopt a similar methodological approach, conducting close cinematographic analysis on a range of film extracts in order to see how filmmakers have tried to construct the past visually in their representation of historical characters. Here my arguments move away from historical criticism to focus instead on aesthetics and cinematography. The overall theory is that there exist two fundamental approaches to the medieval past in film: the first iconic and syntagmatic, the second paradigmatic. Iconic approaches, I argue, work to try to recreate the lost medieval referent by using aesthetic ‘signifiers’ in order to communicate their significance to a medieval audience. The paradigm, on the other hand, works in the opposite way; in order to explain a medieval object, the filmmaker casts about for modern equivalents to use as metaphors. Where the icon recreates the object to communicate the concept, the paradigm communicates the object by re-presenting the concept.
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Mariush, Kristina. "Dutch Children´s Film : Mirrored Power Structures or Subjective Representation?" Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-75428.
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This essay goes through the structures of discourse within Dutch children’s film with the aim of finding a pattern of progressions between the 1980s and the 2010s in the representation of youngsters. The theoretical framework is set by Michel Foucault’s The Order of Discourse.
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Evdoxia, Tsaousi. "Girlhood through film representation : Reconstructing spaces and places for girls." Thesis, Stockholms universitet, Barn- och ungdomsvetenskapliga institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-183372.
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There is a scholar consensus that girls have been marginalized in childhood studies. Taking into account the gender effect in constructing different childhoods for boys and girls this thesis explores the frontiers of girlhood. Girlhood as being abandoned and not perceived in the here and now is constructed only in the future, namely in the frames of femininity and womanhood. This initiates pathology in the lives of girls. This thesis through film representation explored new constructions of girlhood. Two films Barbie as Rapunzel and Tangled based in the fairy tale of Rapunzel were explored through Foucauldian Discourse Analysis. The discursive constructions, the “preppy” girl and the “alternative” girl emerged accordingly as the versions of the “authentic” girl that is searching for her identity and leading to the “self-regulated” girl discourse as a way to reconstruct girlhood.These discursive constructions can be used in the reorientation of girlhood as they unravel the necessities that exist in girl studies.
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Edwards, Abigail. "The role of nostalgia in reality television’s representation of rural lives." Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/31240.
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This dissertation examines the role of nostalgia in reality television’s representation of rural lives. My study merges a theoretical and critical investigation. I take Alaska: The Last Frontier as my case study and argue that the programme responds to social change and urban living conditions in the United States by creating a nostalgic and idealistic representation of preindustrial American life. While the text is largely reactionary and calls upon a restorative nostalgia that imagines ideal American life as rural, white and heteronormative, the show also exhibits elements of reflective nostalgia, using the Kilcher family’s lifestyle to critique contemporary late capitalist lifestyles. Furthermore, I argue that this use of nostalgia conveys a dissatisfaction with post-industrial and urban life by foregrounding an idealistic settler narrative that implies it is not through progressive reform that America will find its nostrum but through a return to conservative values. The chapters in this thesis examine aspects of contemporary urban life that have drastically changed since the onset of America’s industrial revolution. My first chapter argues that nostalgia can manifest in an individual and potentially, a nation. I also argue that reality television plays a significant role in evoking nostalgia and uses it to respond to the sociological conditions of late capitalist urban life. Chapter 2 explores the relationship between the wilderness and nostalgia. In particular, I consider how the 'frontier myth’ structures the show’s nostalgic representation of rural living. In my third chapter I discuss how Alaska: The Last Frontier evokes nostalgia for a lost sense of kinship and community, reminiscent of a preindustrial revolution American culture. This chapter also uses the condition of anomie to further understand how the seemingly disparate relationship between the urban setting in which the programme is largely consumed and the nostalgia for a sense of family and community that the programme evokes, relate. Chapter 4 argues that the representation of labour in Alaska: The Last Frontier constructs a 'fantasy of wholeness’ and that this process potentially evokes nostalgia for an idealised set of labour relations that are perceived to be lost in the late capitalist age. I present a case study from Alaska: The Last Frontier to show how the programme constructs a 'fantasy of wholeness’ through representing idealised labour relations that are in stark contrast to Marx’s theory on how capitalist labour conditions are experienced. Finally, my fifth chapter reflects on the complex and integral role that nostalgia plays in Alaska: The Last Frontier’s representation of rural lives and discusses how the work I have presented in this thesis may provide a basis for future enquiries.
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Koonce, Richard Sheldon. "The symbolic rape of representation : a rhetorical analysis of Black musical expression on Billboard's Hot 100 charts /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1162098669.
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Haxhija, Liridona. "Invisible statements in the newspapers - A qualitative study of media's role and representation of Delhi gang rape." Thesis, Malmö högskola, Fakulteten för hälsa och samhälle (HS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-26357.
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The cases of rape and other crimes committed against women are reported in media everyday. The fatal gang rape of a 23 year old woman on a moving bus in the National capital of India captured media headlines not only in India but across the world due to the horrific manner in which this crime was committed. The present master thesis attempts to understand the representation of crime against women in media to Delhi gang rape case and also how the people feels about of such incidences in media. The data is collected from three newspapers, BBC News, New York Times and Globalpost. All the news items were read carefully and analysed with a critical discourse analysis.The newspapers are each divided in the analysis, including a theoretical discussion afterwards. The theories that are being used in this master thesis are Victim precipitation theory, Moral panics and Labelling Theory. The final conclusion has been arrived with the help of deeply readings through the newspapers including the help of critical discourse analysis. It can be concluded that media needs to be more sensitive towards coverage of crime against women and general public needs to be more vocal and aware to deal with these cases in more effective manner.
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Koonce, Richard S. "THE SYMBOLIC RAPE OF REPRESENTATION: A RHETORICAL ANALYSIS OF BLACK MUSICAL EXPRESSION ON BILLBOARD'S HOT 100 CHARTS." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1162098669.
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Sheldon, Amy Gabrielle. "The Relevance of the Biopic Krotoa (2017): A Mis-Representation of History?" Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/34028.
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This dissertation examines the representation the Khoi woman Krotoa in the film of the same name directed by Roberta Durrant (2017). It draws on scholarship by Pamela Scully (2005) and Julia C. Wells (1997), who argue that Krotoa adapted well to her circumstances, following the arrival of Jan Van Riebeeck at the Cape in 1652. Krotoa used her gender to influence Van Riebeeck's decision-making, regarding trade relations with the Khoi people. This thesis shows these views to be complicated and contested, especially considering evidence of victimisation and sexual assault of indigenous women by colonial authorities – as Pamela Scully (2005) has noted. Yvette Abrahams (1996) also wrote that Krotoa's alcoholism indicated some form of trauma. Simultaneously, indigenous people were also stereotyped based on race. They were deemed immoral and generally inferior to Europeans. These ideologies were perpetuated by European writings on encounters with indigenous people, as scholars like Nicholas Hudson (2004) write. Additionally, indigenous women such as Sarah Baartman, were perceived by Europeans as sexually deviant and hyper-sexual – as written by Zine Magubane (2001). It is for this reason therefore, that issues of identity, sexuality and gender are significant to this study on, Krotoa (2017). Furthermore, in bringing together the narratives of Sarah Baartman and Krotoa, it emphasizes how indigenous women have been marginalised and abused within a colonial society. Critical analysis of the film indicates that history has been distorted by the way Krotoa is represented. This was largely due to the perception that the film is told from the perspective of a ‘white' man, as Rusana Philander (2017) discusses. Moreover, due to the extent to which Durrant's film has been influenced by the past, I argue that Krotoa is mis-represented – both in history and in her representation on-screen.
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Mutlu, Melek Merve. "Women and Tradition in Turkish Television Culture : The Modern day representations of Rape and Pre-marital sexuality." Thesis, Uppsala universitet, Institutionen för informatik och media, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-201568.
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In this thesis, Women and Tradition in Turkish Television culture-The modern day representation of rape and pre-marital sexuality looks into how rape and pre-marital sexuality is represented under traditional gender roles. This is a cultural study that tries to understand the sexual identity of women trying to be represented on television series in Turkey. Two television serials “Fatmagülün Suçu Ne?” and “Hayat Devam Ediyor” are selected as case studies. The two main characters “Fatmagül” and “Hayat” are analyzed in both television serials. The main research question presented in the thesis, “With a particular focus on gender representation, how are the issues of rape and extra-marital sex addressed in the Turkish television serials “Hayat Devam diyor” and “Fatmagül’ün suçu ne?” The particular of representation of gender sexuality is in the traditional and social sphere. The theoretical framework is mainly based on theories based on “Feminism” with a focus on “Radical Feminism” and “Patriarchy”. The main methodological framework used is “critical discourse analysis”. The findings in the thesis through the analysis of episodes dealing with rape and pre-marital sexuality the representations of the main female characters are more negatively in their social spheres. They are excluded from society and represented as the second-class citizen. With this study my aim is to look into the relationship of representations of gender, which will bring more attention to the sensitive topics of oppression of gender sexuality and the representation through gendered realities in the television serials.
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Jones, Joshua B. "TransTV: Transgender Visibility and Representation in Serialized Television." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1469625819.
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Drake, Susan Wiebe. "María Félix the last great Mexican film diva : the representation of women in Mexican film, 1940-1970 /." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1118953316.
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Thesis (Ph.D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains viii, 177 p. Includes bibliographical references (p. 165-177). Available online via OhioLINK's ETD Center
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Drake, Susan Wiebe. "Maria Felix: the last great Mexican film diva: the representation of women in Mexican film, 1940-1970." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1118953316.
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Grace, Jennifer Elizabeth. "The representation of dogs as family in contemporary American documentary film." Thesis, Montana State University, 2010. http://etd.lib.montana.edu/etd/2010/grace/GraceJ0810.pdf.
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The American family dog is a social construct that blurs the ontological boundaries of nature/culture dualism and which contemporary American documentary filmmakers represent by employing alternate tropes of 'dog as human' and 'dog as animal.' In filmic and practical use, these tropes are in flux and are confusing. The position of the dog as a paradox of nature and culture and member of the contemporary inter-species family makes the decision to euthanize it ethically challenging. Non-fiction dog programming is more popular than ever and most shows employ the 'dog as human' trope. But few address at what point that trope breaks down and how to find the line between 'dog as human' and 'dog as animal' when making ethical decisions for dogs. I will prove this by describing movies like Why We Love Cats and Dogs (Ellen Goosenberg Kent 2009) that rely on removed experts to explain the how humans are similar to dogs and those like Shelter Dogs (Cynthia Wade 2003) that follow devastating moments of loss with cheery depictions of renewal. My thesis film Soul Dog instead dives into the deep emotional conflict that many of us face in a society where dogs have become surrogate for family. Using personal subjective storytelling techniques like that in Sherman's March (McElwee 1986) and quirky vox pop interviews similar to those in Gates of Heaven, (Morris 1978) I focus on the personal stories and popular wisdom that influence our actions.
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Shapiro, Amanda J. "You Only Live Twice: The Representation of the Afterlife in Film." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_theses/280.
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The objective of this thesis is to examine and analyze the presentation of spaces, figures, and the processes of judgment in afterlife films. American and foreign titles as well as television series are assessed as afterlife films by two criteria: (1) A character has clinically died yet continues to exist and (2) a living character finds his or her self in an afterlife space. Films with characters that have near-death experiences (NDEs) are included in relation to the above three qualities. After screening nearly one hundred and thirty titles, I have found there is a basic formula structure that has been expanded and transformed into seven other structures, plus those that are combined for a unique narrative. The afterlife corpus is divided into five distinct eras by the quantity of releases that fluctuate in accordance with 20th and early 21st century cultural anxieties and technological advances. A secondary argument proposes why the afterlife story is perfectly suited to the film medium plus why the industry and audiences are incessantly drawn to the afterlife film premise. The afterlife film perpetuates universal and age-old questions on the significance of life and death in the guise of enticing sights and stories. Each afterlife film may have its own identifiable design and theme but they are connected to higher concerns of mortality and second chances.
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Ashaolu, Olubunmi Oludolapo. "Representation of sub-Saharan Africa in contemporary French literature and film /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2005. http://uclibs.org/PID/11984.
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Gazetas, Aristides. "Imagining selves : the politics of representation, film narratives and adult education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25053.pdf.
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Jones, Rex Allan. "'We on history channel!' the representation of history in documentary film /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/jones/JonesRA0509.pdf.
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The representation of history in documentary film is problematic. Documentary's creative treatment of actuality and assumed fidelity to perceived truth is at conflict with the historian's pursuit of veracity. Ever since the dawn of photography, artists have manipulated images and compromised facticity in service to aesthetics and drama. This trend continued into the early days of cinema, as newsreel producers adopted a more liberal than literal ethos that persists in documentary to this day. Reality can never be shown just as it is even in the most simplistic treatments of the most banal subjects. The representation of history is not always as absolute as it may seem. Instead of ignoring or denying the authorship inherent in the representation of history in documentary film, filmmakers should embrace it and reflexively provide glimpses of the cinematic process that forms their particular construction of reality. I will argue that the best way to accomplish this goal is to employ the performative mode of documentary representation, which gives the viewer a context to think about the film as a version of history, not necessarily the version of it.
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Gabrysiak, Diane. "The representation of money in film : gold, paper, metal and electronic." Thesis, University of Warwick, 2006. http://wrap.warwick.ac.uk/48978/.
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This dissertation is a study of the representation of money on screen, in its textual and contextual constructions. Money, itself a representation, has a complex status: it is both an abstract concept, a symbol of value, a social convention, and a concrete object in its embodiment as gold, metal or paper. This study then is that of a representation of a representation. Its starting point is the very paradox of money as both an object endowed with great value while at the same time not worth much more than the substance it is made of or the numbers referring to it in newer forms of electronic money. The paradox is particularly salient in a medium that works through images while at the same time requiring itself so much money. The distinction between the two Latin words moneta and pecunia offers an understanding of money in its main properties and functions, as an exchange tool in constant circulation and as an object of hoarding, as belongings. This distinction is operative in the present study and runs through the thesis, together with the Marxian concepts of use-value and exchange value. The objective is to analyse patterns, peculiarities and meanings linked to the portrayal of money. This thesis does not encompass a comprehensive survey of money represented in all of cinema. Instead, the study is conducted in four groupings of films that are not necessarily thought of in connection with their images of money. Four chapters examine films from different contexts, periods, genres or trends in the cinema of various countries. The groupings are suggested partly by issues outside of money and partly by periods and kinds of money, and focus on case studies while simultaneously referring to a larger corpus. The first chapter examines the issues raised by the topic and surveys the existing literature. The second chapter undertakes an analysis of gold and gold mining in the context of the pioneering West in US films. The third chapter considers paper money and its meanings in neo-realist films. The thesis then proceeds to study films from the 1970s and 1980s. The fourth chapter concerns money in French films on high finance, and the last chapter looks at money as it appears in horror films. The thesis ends with a discussion of the recurrent patterns at work in the representation of money.
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Atakav, Atil. "The representation of women in Turkish cinema in the 1980s." Thesis, Southampton Solent University, 2009. http://ssudl.solent.ac.uk/774/.
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This thesis examines the relationship between feminism and cinema in the context of the women's movement and women's films of the 1980s. In focusing on the nature and implications of the representation of women constructed in Turkish cinema and the issues addressed by the women's movement, it argues that there are connections to be made on an analytical and theoretical level between the two sets of practices. The thesis argues that the enforced depoliticisation introduced after the coup (on 12th September 1980) by the incoming military government is responsible for uniting feminism and film. First, the feminist movement was able to flourish precisely because it was not perceived as political or politically significant. In a parallel move in the films of the 1980s there was an increased tendency to focus on women's issues and lives in order to avoid the overtly political. Secondly, women's films of the 1980s do not merely reflect a unitary patriarchal logic but are also sites of power relations and political processes through which gender hierarchies are both created and contested. The films of the 1980s empower women by dealing with women's issues and representing them as strong characters; however, at the same time they marginalise and objectify women with their cinematic style. turkish cinema reveals powerful cross-currents producing complex and often contradictory effects, acting both to reinforce and to mitigate against the manifestations of male dominance in different narratives and contexts. However despite these complexities, gender asymmetry in Turkish society is produced, represented and reproduced through filmic texts. There has been very little scholarly work done on the representation of women in Turkish cinema in the 1980s. The existing resources not onlylack focus on the shifts in the representation of women within socio-political context, but also fail to make a strong link between feminism and cinema. Moreover, in resources under scrutiny there is no sustained focus on mise-en-scene. The aim of this thesis is to fill this gap and explain the changes in the cultural, the social and the political, while linking feminism and cinema by examining films using close textual analysis.