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Relevant bibliographies by topics / Women's Film / Dissertations / Theses

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Dissertations / Theses on the topic 'Women's Film'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Phillips, Diane. "Women's rites, representations of childbearing in film." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ37611.pdf.

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2

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

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3

Gleghorn, Charlotte Elisabeth. "Body/memory/identity : contemporary Argentine and Brazilian women's film." Thesis, University of Liverpool, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.511053.

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4

Zhang, Qian. "Women's Time and Reproductive Anxiety in Contemporary Horror Films." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1532349287122159.

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5

Stead, Lisa Rose. "Women's writing and British female film culture in the silent era." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3138.

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This thesis explores women’s writing and its place in the formation of female film culture in the British silent cinema era. The project focuses upon women’s literary engagement with silent cinema as generative of a female film culture, looking at materials such as fan letters, fan magazines, popular novels, short story papers, novelizations, critical journals and newspaper criticism. Exploring this diverse range of women’s cinema writing, the thesis seeks to make an original contribution to feminist film historiography. Focusing upon the mediations between different kinds of women’s cinema wr

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6

Hastings, Miriam Wendy. "Representations of desire and identity in contemporary women's writing and film-making." Thesis, Queen Mary, University of London, 1995. http://qmro.qmul.ac.uk/xmlui/handle/123456789/25785.

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Following the publication of Simone de Beauvoir's influential book, The Second Sex, (1949), many feminist critics in Europe and North America have discussed the problems facing women artists and critics of working within phallocentric and phallo-symbolic culture and language. Simone de Beauvoir was the first to demonstrate how male-dominated culture has used symbolic language in order to exclude, repress, and objectify women. Language is one of the key mechanisms employed in phallocentric culture to define and construct reality and gender identity according to male experience and desire. Femin

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7

Chamberlain, Amberly. "The naked truth| An examination of gender bias in the field of acting." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10118892.

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<p> This thesis exposes unconscious gender bias in actor training and the entertainment industry. Such exposure will aid teachers and industry professionals in identifying language and practices that perpetuate this prejudice, and ultimately, effect revisions, forging a new standard for good acting. I posit that images generated by an industry that continues to drive this bias through unequal opportunities for women, double standards, and the preeminence of the male gaze in cinematic practices, contribute to situating women as objects of desire, rather than as subjects who command professional

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8

Murdoch, Emma Louise Annabel. "Madness, psychiatry and anti-psychiatry in English and French women's writing and film." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7676/.

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This thesis examines the theme of women’s madness in the 1960s and 1970s through the works of four English and French writers and film-makers: Chantal Akerman, Emma Santos, Jane Arden and Mary Barnes. It examines how these four writers and film-makers inscribe madness into their texts from a sociological angle, presenting the texts and films discussed as socio-historical artefacts while analysing each writer and film-maker’s representation of women’s madness. Inspired by psychologist Phyllis Chesler, who argues that madness is tied to socially defined gender roles and used to demarcate violati

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Pollarolo, Giovanna R. "Los guiones del "ciclo hollywoodense" de Manuel Puig : copias, reescrituras y apropiaciones." Thesis, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/20724.

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In this dissertation I study Ball Cancelled, Summer Indoors and La tajada, the three early screenplays by Argentine writer Manuel Puig, who wrote these before his first novel and dismissing “copies of old movies”. My thesis investigates and refutes this harsh self-judgment and tries to show—through theories of the “copy” —, that the three screenplays establish a dialogue with one another as well as with the “old Hollywood movies”, through a subtle critique, a transgressive distance and complacency towards the model they represent. The first section examines Puig’s relationship to the condit

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Di, Fede Corella Ann. "Bio-logics of bodily transformation| Biomedicine and makeover TV." Thesis, University of California, Irvine, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10246999.

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<p>This dissertation began as an attempt to understand how biomedical concepts and practices, which undermine the salience of norms drawn from the ?natural order? are relayed through mass media and inform self-understanding, social being, self-care, and practices of everyday life. The project tracks makeover TV?s valorization of the metamorphic or transformative body as an ideal that emerges through, and across, various contexts in science and popular culture. This genre of programming is one of the few sites at which the aesthetics of biotechnology are made visible in non-fiction representati

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Henrikson, Molly J. "Representations of women's wartime contributions in film 1942-1946 : perpetuating the cult of domesticity /." May be available electronically:, 2008. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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12

Johnson, Lakesia Denise. "The Iconography of the Black Female Revolutionary and New Narratives of Justice." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1213127495.

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13

Sheen, Jade, and jade sheen@deakin edu au. "Women's cognitive and emotional processing during sexual arousal: The effects of erotic film and absorption." Deakin University. School of Psychology, 2004. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20061208.084141.

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Sexual arousal is a complex and dynamic element of womens sexuality. Accounts vary, however most multidimensional models highlight the cognitive, affective and physiological components of the female sexual arousal response. While literature examining the peripheral physiological changes that occur during female sexual arousal abounds, there has been a dearth of literature pertaining to the cognitive and affective components. Thus, while many authors have included cognitive and emotions as independent components of the female sexual arousal response, there has been little empirical researc

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Bloom, Carl Nicholas. "EVIDENCE OF ANXIETY: WOMEN'S AGENCY AND ENGAGEMENT LAW IN AMERICAN LITERATURE AND FILM, 1880-1935." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/dissertations/453.

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During the end of the nineteenth century, breach of promise laws, which had protected unmarried but engaged women for centuries during their vulnerable engagement period, began to come under public scrutiny. The demonization of this legal protection coincided with increased legal agency in other areas of married life for women, but in most historical and critical discussions of this era, breach of promise, also nicknamed Heartbalm, has been overlooked, and the purpose of this dissertation is to examine canonical and non-canonical literature from this period and recontextualize these works in l

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15

Rogan, Sara Caitlin. "Gender behind-the-scenes : women's career experiences in the contemporary US film and television industry." Thesis, University of York, 2016. http://etheses.whiterose.ac.uk/13932/.

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Since the 1980s the film and television industry in the United States has developed into a largely contract-based system characterised by career insecurity and precarity. Based upon 27 semi-structured in-depth interviews conducted in Los Angeles, San Francisco, and Chicago during the summer of 2013, I analysed women’s reported career experiences in the contemporary US film and television industry. Using Banks’ (2009) concept of feminist production studies, which integrates political economy, cultural studies, and gendered perspectives I focused on several key areas of women’s careers as report

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Adams, Megan E. "Flicking the Bean on the Silver Screen: Women’s Masturbation as Self-Discovery and Subversion in American Cinema." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300749024.

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Lagamba, Jonette Lauren. "Shaping Identity: Male and Female Interactions in Cinema." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4116.

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ABSTRACT Since the inception of cinema, women have been portrayed with the typical identities of emotionally and physically weak characters; this portrayal led to their subsequent dependence on men. Men were usually the protagonists and/or the heroes, following their archetypal journey. Thus, women's position in early cinema was to exemplify what men were not, placing the former in the diminutive position of the Other. One may conclude that men were often defined by what women lacked, and the women were defined by their relationships with these heroic men. As time progressed in the history of

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Collard, Jessica Michelle. "Can You Believe She Did THAT?!:Breaking the Codes of "Good" Mothering in 1970s Horror Films." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4301.

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The threats found in horror films change with time, each decade consisting of threats that were most frightening for the time period. Horror film scholars, such as Andrew Tudor, determined that in 1970s horror films the threat has migrated from external forces into the home and the family. Invading aliens and monsters were thrown replaced by psychosis and evil children. This notion of making the familiar unfamiliar and threatening is paralleled in concerns addressed during the second-wave of feminism; women were making the normative and familiar idea of mother unfamiliar as they migrated from

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Weir, Charissa. "Investigative Documentary as Critique? Understanding the Role of Narrative in the CBC Fifth Estate Documentaries on the Ashley Smith Case." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32794.

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This thesis uses approaches adapted from narrative analysis to provide a detailed examination of the two CBC Fifth Estate documentaries on the case of Ashley Smith (Behind the Wall, 2010; Out of Control, 2010). In particular, it considers how different voices and pieces of evidence are brought together to construct coherent documentary narratives and contextualizes these narratives within broader feminist criminological discourse. This project develops the concepts of ‘internal’ and ‘external’ coherence and considers how attempts to maintain coherence influence the way the Smith case is presen

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Reed, Nannie Natisha. "'TAMING OF THE SHREW':DIALECTICS OF AFRICAN-AMERICAN WOMEN'S RAGE IN DOMINANT AMERICAN FILMIC DISCOURSE." Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1145674408.

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21

Hsieh, Hsin-Chin. "Life on the Move: Women's Migration and Re/making Home in Contemporary Chinese and Sinophone Literature and Film." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19322.

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My dissertation examines the transformation of family and the reinvention of home from migrant women’s perspectives as represented in contemporary Chinese and Sinophone literature and film. In the era of globalization, people are increasingly mobile both within and across borders, resulting in the reshaping of family structure and re-conceptualization of home. In this dissertation I contend that migration is closely related to family dynamics and that migration also facilitates women’s agency in transforming family structure, navigating cultural differences, and negotiating with local societie

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22

Ooten, Melissa D. "Screen strife: Race, gender, and movie censorship in the New South, 1922--1965." W&M ScholarWorks, 2005. https://scholarworks.wm.edu/etd/1539623484.

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In 1922, Virginia's General Assembly created a Motion Picture Censorship Board, which viewed every movie seeking legal exhibition in Virginia until 1965. This cultural regulation of popular culture complemented other economic and political policies of the state designed to buttress the power of white, middle-to-upper class elites within the state. to this end, the censors, empowered by the authority of the state, were particularly concerned with regulating certain images of African Americans and female sexuality on-screen.;Yet the process of censorship was a contested, fluid practice, and indi

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Andrade, Chinchilla Fabiola Y. "It's Me, Sarah." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2582.

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This paper describes the making of It’s Me, Sarah, a University of New Orleans thesis film. It explores the process of creating the film in three parts. Part one will examine the pre-production, including the writing and preparation for the shoot. Part two will detail the production, including the shooting affairs. Part three will cover the post-production process, which will include the editing. The document will then reference these three segments regarding the film’s theme and will conclude by evaluating whether the final film achieves its intended conception.

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Davis, William. "To make the better film movies, women's clubs and the fight over censorship in the American South, 1907-1934 /." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-3/davisw/williamdavis.pdf.

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Cohanim, Samira. "A Glance at the Male Gaze." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/513.

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The purpose of this paper is to understand and criticize the representation of women in advertisements. I examine the opposing yet similar ways that women are portrayed in Dove and Axe advertisements, two brands of Unilever. This paper analyzes the way in which brands market their products in such a way to appeal to a gendered audience. I also explore the history of how women have been depicted in art movements such as Surrealism, detournement and culture jamming, corresponding with my project of digital mixed media advertisements. I examine the way in which the prevalence of the male gaze in

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26

Swanson, Ginger. "The other woman| Explored through 100 years of film, the psychic landscape of dreams, and the lived experiences of Anais Nin and Sabina Spielrein." Thesis, Pacifica Graduate Institute, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3687860.

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<p> The purpose of this organic inquiry and alchemical hermeneutic study was to explore the nature, essence, and archetype of <i>the other woman </i> with the goal of understanding how and why women become involved in triadic relationships. The study seeks to comprehend the lived experience of the other woman, including her history, character, behavior, ideologies, and desires. This study explored how and why other women are <i>othered </i> (i.e., cast out or rejected) in society, and the resultant effects upon them. A further goal of the work was to understand the dynamics of the triadic rela

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Won, Cassandra L. "(Un)Focusing the Gaze." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/343.

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This is a piece that engages with Laura Mulvey's idea of the 'male gaze.' It is meant to exaggerate, magnify, and therefore critique the mechanisms that the camera uses to objectify and dominate women's bodies.

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Cochran, Shannon M. Phd. "Corporeal (isms): Race, Gender, and Corpulence Performativity in Visual and Narrative Cultures." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281917081.

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Moss, Erin Zimmerman. "Bollywood Broads: Reconstructing the Femme Fatale in Popular Indian Film." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1509.

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Mumbai is currently one of the most prolific and lucrative film centers in the world. Its production of the "Bollywood" popular film has attracted billions in audience members outside the nation of India, many of whom do not belong to Indian culture in the Diaspora. The significance of this influence draws from the cross-cultural borrowings increasingly present in Bollywood cinema. The advent of Western investment in the production center has coincided with the diversification of the standard Bollywood film from "masala" musical to more genre specific action, horror and even romantic comedy

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Hinders, Katherine Elizabeth. "Reproducing Patriarchy: Dystopian (In)fertility Onscreen." OpenSIUC, 2019. https://opensiuc.lib.siu.edu/theses/2582.

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During this time of increased attention toward the representation of women in media, simply applauding including female characters often leaves out the analysis of what purpose they serve within their narratives. The anxiety over women’s fertility in Blade Runner 2049 (Denis Villeneuve, 2017), Children of Men (Cuaron, 2006), and The Handmaid’s Tale (Bruce Miller, 2017) expresses a crisis in contemporary culture over changing gender roles. Even though these three texts use the antagonists to seek to control over women’s bodies, the narratives themselves still employ infertility as a threat for

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31

Reisfield, Alexander. "The De Havilland Law - How One Woman stood up to the Hollywood System." Scholarship @ Claremont, 2018. https://scholarship.claremont.edu/cmc_theses/2088.

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Olivia de Havilland’s legal victory over Warner Brothers in 1943 set a new precedent for labor relations in Hollywood. Not an isolated piece of litigation, the resulting law now is referred to by her name. It was the culmination of long struggle for actors in the studio system for representation and fair treatment under the law. Much of the work during Hollywood’s studio era was undertaken by women. They used their positions on screen both to appeal to their individual audiences. More than any other, the female star defined the pictures they performed in and the brand of the studios that emplo

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Lewis, Melinda Maureen. ""That's What She Said": Politics, Transgression, and Women's Humor in Contemporary American Television"." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1394394312.

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Howard, Amy L. "Stormy Weather: Lena Horne, Dorothy Dandridge and the Cultural Politics of Stardom." W&M ScholarWorks, 1999. https://scholarworks.wm.edu/etd/1539626198.

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Hendricks, Michael Todd. "KNOWING AND BEING KNOWN: SEXUAL DELINQUENCY, STARDOM, AND ADOLESCENT GIRLHOOD IN MIDCENTURY AMERICAN FILM." UKnowledge, 2014. http://uknowledge.uky.edu/english_etds/14.

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Sexual delinquency marked midcentury cinematic representations of adolescent girls in 1940s, 50, and early 60s. Drawing from the history of adolescence and the context of midcentury female juvenile delinquency, I argue that studios and teen girl stars struggled for decades with publicity, censorship, and social expectations regarding the sexual license of teenage girls. Until the late 1950s, exploitation films and B movies exploited teen sex and pregnancy while mainstream Hollywood ignored those issues, struggling to promote teen girl stars by tightly controlling their private lives but depriv

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Di, Paolo Osvaldo. "CADÁVERES EN EL ARMARIO: EL POLICIAL PALIMPSÉSTICO EN LA LITERATURA ARGENTINA CONTEMPORÁNEA." UKnowledge, 2011. http://uknowledge.uky.edu/gradschool_diss/36.

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This dissertation investigates the emergence of detective fiction and film from 1994 to the present. The corpus appears during the government of Carlos Menem and its intent to insert Argentina into a globalized economy. Poverty, insecurity and violence prevail in the Argentine society and ten detective novels, based on real-life murders, appear in 1994. Consequently, I explore each murder case, beginning with the newspaper article, and trace its transformation into short fiction, novel and/or film. The articles about the homicides follow the tendencies of the sensationalist yellow press. The w

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Taylor, Erica Natalie. "Reclaiming Her-Story in Mythology: The Spectrum of Lilith and Women's Sexuality in Queer Cinema." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1620314857343559.

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37

Meggs, Michelle. ""Oh She Ratchet": An Examination of Tyler Perry's Madea and Christianee Porter's Miss Shirleen Characters as Agents of Black Women's Liberation." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2019. http://digitalcommons.auctr.edu/cauetds/199.

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This purpose of this dissertation is to utilize womanism and ratchetness to determine how the actions of Tyler Perry’s Madea and Christianee Porter’s Miss Shirleen characters represent Black women’s agency through their ratchet actions. This dissertation analyzed two Tyler Perry films and five Miss Shirleen videos to determine whether their actions conveyed cultural and liberative significance beyond entertainment. This research discovered that both characters engaged in resistance to disempowering narratives through actions that embraced a radical subjectivity and subsequent dismissal of resp

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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).

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Lechintan, Adela A. "Cinematic Reverberations of Historical Trauma: Women's Memories of the Holocaust and Colonialism in Contemporary French-Language Cinema." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1315504205.

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Perry, Allison. "Women and Video Games: Pigeonholing the Past." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/135.

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Academic work dealing with the overlap between video games and female representation is limited in both volume and proper research. Most texts agree on three supposed flaws with video games: they alienate female participants, there are no games for female players, and female players cannot relate to female characters. This thesis sheds light on these points, not only citing specific counter-examples, but also showing how many of these issues reflect on a larger societal problems.

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Antonić, Maja. "Yugoslav Revolutionary Legacy: Female Soldiers and Activists in Nation-Building and Cultural Memory, 1941-1989." TopSCHOLAR®, 2019. https://digitalcommons.wku.edu/theses/3107.

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While women are often excluded and/or portrayed as victims in the historical scholarship on war, this research builds on recent scholarship that shows women as active agents in warfare. I focus on Yugoslavia’s WWII Partizankas, female soldiers and activists, who held visible positions in the war effort, public consciousness and, later memory. Using gender as a category of analysis, my thesis explores Partizankas’ legacy and their contributions in the National Liberation Movement (NLM) in WWII (1941- 1945) and post-war nation building. I argue that the organizational framework of the Anti-Fasci

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Barnett, Katrina. "Nine Lives: A History of Cat Women, Subversive Femininity, and Transgressive Archetypes in Film." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707290/.

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The intention of this thesis is to identify and analyze the cat woman archetype as a contemporary extension of the transgressive witch archetype, which rampantly appears over the course of cinema history, working as a signifier of a patriarchal society's fear of autonomous and subversive women. The character of Catwoman is the ultimate representation for this archetype on grounds of her visibility, longevity, and ability to return again and again. More importantly, Catwoman and her sisterhood of cat women work against male creators as a means of female empowerment through trickery. Within this

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Carriere, Glenda Mary. "Going Up the Down Escalator: An ethnographic case study of the uptake and utilisation of information and communication technologies by three Women in Film and Television (WIFT) organisations at the State, National and International level, 1995-2000." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16020/.

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This thesis examines the implementation of the new digital information and communications technologies (ICTs) by the Women in Film and Television (WIFT) Non-government organisation (NGO) at the state, national and international levels through an ethnographic, participant observation case study, informed by the precepts of feminist research. A quantitative survey of Australian peak women's NGOs participating in the electronic mailing list - Pamela's List is also conducted mapping the context in which WIFT operates and providing an overview of Australian women's peak NGOs' uptake and use of ICT

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Orent, Shayna L. "Fetuses Are People, Too?: How Images of Sonograms in Popular Culture Affect Our Conception of Fetal Personhood." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/101.

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This thesis explores the way popular culture imitates and reinforces a sentimentalized reading of sonogram images that has been established by the conservative Right as the proper way to view this image. It analyzes several popular culture texts to expose the way their use of sonogram images personifies the fetus. It aims to problematize the way this image has become a symbol of fetal personhood and initiate a discussion about our roles as consumers of popular culture and images. Finally, it connects the use of this image to recent legislation surrounding mandatory ultrasounds and personhood i

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Finkelstein, Marta R. "Cute As A Button." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3795.

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Cute As A Button explores powerlessness, vulnerability, illness and addiction all wrapped up in tender buttons and a cute, cuddly creature. Using animation, sculpture, sound and an intimate space, I surround the viewer in a saccharine nightmare, one that references the dark underbelly of the cute and the sweet. The visual and aural elements are representative of the psychological and emotional states of powerlessness, which are overcome by the act of making and exploring a medium over which I can have complete control.

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Mancini, Tanna Alice. "When Bad Things Happen to Good Mothers: Rethinking Motherhood Through the Single Mother Image in American Films from the 1930s to the 1970s." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4142.

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ABSTRACT The single-mother figure shows up in myriad American film genres, and my thesis explores three of these genres, maternal melodrama, film noir, and horror. I argue there is a melodramatic mode that carries over from maternal melodrama to film noir and horror. This mode emphasizes emotional excess. In maternal melodrama, the emotional excess is pity. For film noir, the emotion is anxiety, and in horror, it is repulsion. Even though each genre has its own emotional excess, maternal melodrama still speaks to these other genres through its maternal sacrifice, non-heteronormative famil

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

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Peteet, Julia Clare. "Andalusia." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07192006-143237/.

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Thesis (M.A.)--Georgia State University, 2006.<br>Title from title screen. Jack Boozer, committee chair; Shirlene Holmes, Marian Meyers, committee members. Electronic text (138 p.) : digital, PDF file. Description based on contents viewed June 19, 2007. Includes bibliographical references (p. 28-30).

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Brost, Molly. "Mining the Past: Performing Authenticity in the Country Music Biopic." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1210877250.

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

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Abstract:

During the late 1970s and 1980s, feminist critics like Janice Radway began to reconsider so-called women’s genres, like romance novels and soap operas and melodramas, in order to address the forms of subversion and expressions of agency they provided female audiences. However, in spite of greater willingness to consider the progressive potential in romance narratives, there has been little such consideration given to stories of romance for the fighting female character—defined as a protagonist who uses violence, via her body or weapons, to save herself and others. The fighting female has recei

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