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

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

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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2

Joseph, Morountodun. "Female filmakers: Towards reconstructing women's images in Nollywood films." Doctoral thesis, Faculty of Humanities, 2018. http://hdl.handle.net/11427/30052.

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The last five years have produced a steady increase of women in creative and technical roles in Nollywood. Against the backdrop that women have mostly been portrayed in demeaning ways in a male-dominated industry, this research explores the films of four contemporary female filmmakers, and pays critical attention to the advancement of women’s on-screen images and their narratives. Through the textual analysis of films by four female filmmakers, namely Rukky Sanda, Michelle Bello, Stephanie Okereke-Linus and Omoni Oboli, whose films were produced between 2013 and 2016, I critically analyse thei

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3

Field, Emma. "Only a trickle? : blood in detail and three women's films /." Connect to this title online, 2003. http://adt.lib.utas.edu.au/public/adt-TU20050315.093920.

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4

Graham, Paula. "Imitation of life : gender, race, and sexuality in popular cinema." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311459.

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5

Bogarosh, Nichole A. "The princess, the damsel, and the sidekick| Women as the "other" in popular films (2000--2011)." Thesis, Washington State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3598040.

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<p> This paper explores the patriarchal ideologies present in the top three grossing films of each year from 2000 to 2011and how these messages work to continue the subordination and oppression of women. The movies studied have been grouped into three genres: animated, action, and science fiction/fantasy. Within each of these genres the presentation of the heterosexual romance-marriage-family ideal, violence against women and the men as protectors narrative, and the depiction of men as being the only capable leaders are explored. The analysis of each genre specifically concentrates on one o

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6

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 h

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7

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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8

Sinner, Megan. "FEMINISM IN THE FILMS OF NEW GERMAN COMEDY." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1146072869.

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9

O'Reilly, Kevin Joseph. "Between hotel mama and petrol station manager: the represatations of women's realities in a selection of African films." Thesis, Nelson Mandela Metropolitan University, 2008. http://hdl.handle.net/10948/789.

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The roles that women perform as depicted in African films are often dictated to by the type of society they find themselves in. At first glance traditional societies can be seen as oppressive because of the presence of certain cultural practices. Alternatively modern urban settings appear to offer women authority and empowerment through employment. However, with a closer examination one sees that the situation is not so simplistic. Such is the case when certain traditional practices that are deemed oppressive through a Western perspective, are still found in urban societies. Films on the subje

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10

Hoffman, Alison R. "Our bodies, our cameras women's experimental cinema in the U.S., 1964-1976 /." Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2023781661&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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11

Geloğullari, Gülin. "Female Friendship Films: A Post-Feminist Examination of Representations of Women in the Fashion Industry." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc848090/.

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This thesis focuses on three fashion industry themed female friendship films: Pret-a-Porter/Ready to Wear (1994) by Robert Altman, The Devil Wears Prada (2006) by David Frankel, and The September Issue (2009) by R.J. Cutler. Female interpersonal relationships are complex – women often work to motivate, encourage and transform one another but can just as easily use tactics like intimidation, manipulation, and exploitation in order to save their own jobs and reputations. Through the lens of post-feminist theory, this thesis examines significant female interpersonal relationships in each film to

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12

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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13

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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14

Weber-Fève, Stacey A. "There's no place like home homemaking, making home, and femininity in contemporary women's filmmaking and the literature of the Métropol and the Maghreb /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148746370.

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15

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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16

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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17

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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18

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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19

Nie, Jing. "Contemporary Chinese Cinema: Fifth Generation films, urban films, and Sixth Generation films." Ohio : Ohio University, 2003. http://www.ohiolink.edu/etd/view.cgi?ohiou1061419663.

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20

McWilliams, Stephen Thomas. "Exercise and Behavior Change in Adult Women Transitioning into Society: A Documentary Film Analysis." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/281081.

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Kinesiology<br>Ph.D.<br>The Role of Film as Persuasive Tool of Social Change: Since the introduction of cinema, both non-fiction and fictional films have been used by film makers, artists, and interest groups to change minds and mold opinions. Documentary films in particular, have a history of being used in a variety of ways to further political causes, raise social or patriotic awareness, or as a call to personal activism. In this project, the use of well designed, aesthetically pleasing documentaries have been advocated for potential use in the field of sport psychology to create awareness o

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21

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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22

Chapman, Sharon Jeanette. "Classical Hollywood film directors' female-as-object obsession and female directors' cinematic response: A deconstructionist study of six films." CSUSB ScholarWorks, 1996. https://scholarworks.lib.csusb.edu/etd-project/1258.

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23

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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24

Horst, Jennifer Lynne Levin C. Melinda. "The making of the documentary film Women in red." [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-9088.

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25

Horst, Jennifer Lynne. "The making of the documentary film Women in Red." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9088/.

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Though the remnants of a stereotype created over two millennia ago still thrive in American popular culture today, redheaded women are enjoying a more positive role in society than they have ever seen before. Women in Red explores the experience of the redheaded woman in America today by examining how the stereotypes have affected a small group of them, how these women relate to the stereotypes, and why, given the verisimilitude of the stereotype, a non-redheaded woman would embrace such an identity with the simple act of dying her hair red. This is the story behind the experience that is Wo

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26

Hartman, Gregory. "Monolithically integrated non-reciprocal devices based on magnetic thin films." Wright State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=wright1369095798.

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27

Vance, Sharie. "Miz Markley." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849604/.

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Lisa Markley, a.k.a. "Miz Markley", is a genuinely happy person even if she is not particularly financially successful as a musician. In an effort to validate my own choices as an artist, I chose to follow her. What was intended to be a portrait of a working musician, becomes instead a feminist musical essay film about the transformative power of art making.

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28

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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29

Carty, Gabrielle Mary. "Female roles in the comedy films of Fernando Colomo." Thesis, Queen Mary, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252065.

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30

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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31

Patrick, Tegan Rae. "Legitimising Misogyny: Representations of Women in Three Shakespeare Films." Thesis, University of Canterbury. Humanities, 2014. http://hdl.handle.net/10092/10015.

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The plays of William Shakespeare have long been considered a source of cultural and educational interest by both academics and filmmakers, and the practice of adapting Shakespeare’s works to film has existed for almost as long as film itself. The name “Shakespeare” evokes ideals of cultural legitimacy and importance, and Shakespeare film as a genre is always caught up in questions of fidelity and legitimacy. In adapting Shakespeare to the screen, filmmakers also adapt, whether deliberately or not, the various cultural beliefs that his work is steeped in. Early modern ideas about gender, race a

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32

Moser, Evelyn Christine Busch. "Heroines in western films /." abstract and full text PDF (free order & download UNR users only), 2005. http://0-wwwlib.umi.com.innopac.library.unr.edu/dissertations/fullcit/3209133.

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Thesis (Ph. D.)--University of Nevada, Reno, 2005.<br>"August 2005." Includes bibliographical references (leaves 237-246). Online version available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2005]. 1 microfilm reel ; 35 mm.

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33

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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34

Sorensen, Abigail. "The Feminine Sublime in 21st Century Surrealist Cinema." Wright State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=wright1464046230.

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35

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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36

Calhoun, Claudia Y. ""When I get home, I'm fixin' to stay" : gender and domesticity in Post-World War II musical Westerns /." Connect to electronic thesis, 2005. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2006/251.pdf.

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37

Ngan, Ka-hing, and 顏加興. "Gender representation in Zhang Yimou's films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45007640.

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38

McWilliams, Stephen Thomas. "BrakingCycles.mp4." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/281082.

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Kinesiology<br>Ph.D.<br>The Role of Film as Persuasive Tool of Social Change: Since the introduction of cinema, both non-fiction and fictional films have been used by film makers, artists, and interest groups to change minds and mold opinions. Documentary films in particular, have a history of being used in a variety of ways to further political causes, raise social or patriotic awareness, or as a call to personal activism. In this project, the use of well designed, aesthetically pleasing documentaries have been advocated for potential use in the field of sport psychology to create awareness o

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39

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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40

Ngan, Ka-hing. "Gender representation in Zhang Yimou's films /." View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B34614424.

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41

Coskun, Cicek. "Modernization And Women In Tunisia: An Analysis Through Selected Films." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12607598/index.pdf.

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This study analyzes the representation of women and modernization in Tunisian society by looking at Tunisian films produced in Tunisia after 1980. Study aims to develop a new concept to understand modernization process of women in a non-western, Muslim, and North African society through representations in films. Women&rsquo<br>s modernization process has been analyzed through the qualitative analyses of five Tunisian films by focusing on conceptualization of women issue as one of the main elements of Tunisian modernization. More presicely, the study examines stages of women&rsquo<br>s moderniz

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42

Azeez, Adesina Lukuman. "Representations of Women in Nigerian Video Films : Construction and Reception." Thesis, University of Leeds, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503257.

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43

Zhuang, Yuxi. "Representation of Working Women: A Comparative Study of Feature Films in China and the U.S. from 2000-2019." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1619196204339411.

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44

McCurdy, Marian Lea. "Women Murder Women: Case Studies in Theatre and Film." Thesis, University of Canterbury. Theatre and Film Studies, 2007. http://hdl.handle.net/10092/1938.

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This thesis looks at two cases of women who murdered women - the Papin sisters (Le Mans, 1933) and Parker-Hulme (Christchurch, 1954) - and considers their diverse representations in theatre and film, paying particular attention to Jean Genet’s play The Maids (1947), Peter Jackson’s film Heavenly Creatures (1994) and Peter Falkenberg’s film Remake (2007), in which I played a part. What happens when two women (sisters, girl friends) commit violent acts together - not against a man, or a child, but against another woman, a mother or (as in the case of the Papin sisters) against women symbolical

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45

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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46

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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47

Silas, Elizabeth J. "THEMES OF AWAKENING IN MAINSTREAM FILMS: FEMALE SUBJECTS AND THE LACANIAN SYMBOLIC." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1133495057.

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Thesis (Master of Arts)--Miami University, Dept. of Mass Communication, 2005.<br>Title from first page of PDF document. Document formatted into pages; contains [1], iv, 63 p. Includes bibliographical references (p. 58-63).

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48

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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49

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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50

Harrington, Erin Jean. "Gynaehorror: Women, theory and horror film." Thesis, University of Canterbury. Cultural Studies, School of Humanities and Creative Arts, 2014. http://hdl.handle.net/10092/9586.

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This thesis offers an analysis of women in horror film through an in depth exploration of what I term ‘gynaehorror’ – horror films that are concerned with female sex, sexuality and reproduction. While this is a broad and fruitful area of study, work in it has been shaped by a pronounced emphasis upon psychoanalytic theory, which I argue has limited the field of inquiry. To challenge this, this thesis achieves three things. Firstly, I interrogate a subgenre of horror that has not been studied in depth for twenty years, but that is experiencing renewed interest. Secondly, I analyse aspects of th

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