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Relevant bibliographies by topics / Women in motion pictures. Feminism and motion pictures. Feminist films / Dissertations / Theses

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Dissertations / Theses on the topic 'Women in motion pictures. Feminism and motion pictures. Feminist films'

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Published: 4 June 2021

Last updated: 1 February 2022

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1

Su, Xin. "Ideas of film authorship : a study of theories and concepts of agency and subjectivity in film authorship, with a conclusion on the possible configuration of a future theoretical model of feminist film authorship." HKBU Institutional Repository, 2010. https://repository.hkbu.edu.hk/etd_ra/1101.

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2

Rubaba, Protas Pius. "The influence of feminist communication in creating social transformation : an analysis of the films Moolaadé (Ousmane Sembène) and Water (Deepa Mehta)." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/888.

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In many societies in developing countries, women are not given a chance to communicate their issues. The organisation within these societies places men at the top, giving them the opportunity to make all the important decisions. This situation is reflected in the two films which fall under this study, namely, Water and Moolaadé both of which are fictional representations of the oppression of women. In this study, an attempt is made to explain communication struggles in the two films: Water, reflecting Indian society and Moolaadé, reflecting African society. To understand the outcome of these struggles against patriarchy, the study looks at two types of feminism: Indian feminism and African feminism and attempts to find the sense that characters in the film can be understood. The analysis also looks at what the women, who act as feminists in the films have achieved out of their struggles to break the silence and how their voices have influenced or sensitised the silenced majority of women in their societies. Feminist communication theories have been used to analyse the female voice in the films. In the conclusion, I have argued that in both films women have managed to transform their respective societies. However more potential to social transformation are revealed by women depicted in Moolaadé than in Water, where there is very slow pace of change.

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3

O'Skea, Doreen Lynn. "Perpetual girlhood: what the movies have taught us about ourselves : a content analysis of Best Actress Academy Award-winning films from 1961-1997." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1133726.

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Empowered, embattled and embittered women seem to be everywhere in the media today. Either in film, on television or on the Internet, there are more and more women being shown in a variety of working roles. Women are being shown in nontraditional jobs, they are allowed to work in the man's world and they can take charge. All of these things are remarkable but a note of caution is needed, for while these women are working the boardroom the girls are taking over.Women in power are increasingly being shown as unattractive, undesirable and unpleasant. While their counterparts- girls, are shown as loving, lovable and sweet. Films are reinforcing the girlish archetypal ideal by allowing girls to be the winners in nearly all situations.Female characters may begin the story as independent women but they are soon shown the error of their ways and are quickly reduced to a more pleasant, more malleable girl by the film's end.The content analysis of 37 Best Actress Academy Awardwinning films revealed that women are reduced to girls nearly 87 percent of the time. These women gave up their careers, or at least their career goals. They changed their appearance, they altered their personal goals and they suddenly found a way to express more emotion than they ever had in their life as a woman.Further analysis revealed that several subthemes were present in the films. In 19 of the 37 films women were raped or they were the victims of attempted rape. In 12 of the 37 films women were widows, they either began the film as a widow or they were to shortly suffer the grief of widowhood. In 22 of the 37 women are the victims of violence or they are threatened with violence and in 15 of the 37 films the characters are threatened with the loss of their home or they are struggling to make the journey to their home.The final analysis revealed that women were either pitied, maligned, abused or raped while girls were celebrated, loved and adored.<br>Department of Journalism

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4

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 illustrate how femininity is constructed and driven by consumer culture in the fashion industry themed films.

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5

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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6

Langenfeld, Elizabeth Irene. "Hitchcock's "Rebecca": A rhetorical study of female stereotyping." CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1718.

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7

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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8

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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9

Phillips, Julie D. "Rape myths in the American movie industry : a content analysis and feminist criticism." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941729.

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This study explored rape depictions and rape myths in the mainstream American filmindustry. Four rape myths pervade American culture. The myths argue that women "ask" for rape, "deserve" rape, lie about rape, and are not really hurt by rape. These myths place blame on the victim and absolve the rapists on any wrongdoing. Furthermore, these myths attempt to justify male sexual aggression against women.This study explored film's portrayal of the rape event, the victim, the rapist, and the depiction of specific rape myths. A content analysis of 16 American films released between 1982 and 1994 revealed 27 victims of rape. The content analysis also provided a descriptive analysis of the rape event while a feminist analysis revealed the films' underlying ideological underpinnings.The content analysis revealed that the films distort rape by consistently portraying the rapist and victim as young white, middle class men and women. Additionally, the relationship between victim and rapist was distorted as well as the legal aftermath of the rape.The feminist analysis revealed that films perpetuate rape myths more frequently than they challenge these myths. In some instances, films presented the reality of rape, particularly the environment the victim would enter. Most films, however, advanced patriarchal beliefs about rape.<br>Department of Journalism

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10

Hofmann, Ingrid. "Deadly seductions : femme fatales in 90's film noir." Title page, table of contents and abstract only, 1998. http://web4.library.adelaide.edu.au/theses/09ARM/09armh713.pdf.

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11

Chan, Lai Man Amelia. "Nicole Kidman :gender equality and feminist ideology in films." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953456.

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12

Paszkiewicz, Katarzyna. "Gender y genre en las cineastas estadounidenses a principios del siglo XXI." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/283168.

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Si bien existe una cantidad considerable de trabajos de investigación sobre las llamadas cineastas “vanguardistas” o “resistentes” a las estructuras comerciales, la obra fílmica de mujeres que recurren a formas populares no ha recibido suficiente atención crítica en los estudios de cine en general, ni en estudios fílmicos feministas en particular. Esta tesis se propone abordar una selección de obras realizadas por cineastas estadounidenses contemporáneas que han sido percibidas como películas de género en los discursos críticos: la película de terror Jennifer’s Body (2009), dirigida por Karyn Kusama y escrita por Diablo Cody, el western Meek’s Cutoff (2010), dirigido por Kelly Reichardt, y el filme de guerra The Hurt Locker (2008), dirigido por Kathryn Bigelow. Tomando como punto de partida la conceptualización del género cinematográfico como un proceso, y a la vez un repertorio o una constelación de materiales culturales, estéticos e ideológicos, el objetivo es reflexionar sobre cómo las cineastas citadas emplean los formatos genéricos para entablar un diálogo con las formas pasadas, y al mismo tiempo contribuir a rehacer y permutar los imaginarios sociales, en particular en cuanto a la representación del género sexual. La tesis pretende contextualizar la obra de las cineastas estudiadas, ofreciendo un detallado examen no solo de sus películas, sino también de sus figuras públicas, que se prestan a consideraciones sobre una serie de cuestiones que nos parecen cruciales para repensar y problematizar la noción de “cine de mujeres”: la división entre los géneros “masculinos” y “femeninos”, la creciente importancia y visibilidad de la figura autorial de las cineastas, la disolución de los lindes entre el cine comercial y el cine independiente, el contexto de la llamada cultura mediática posfeminista y la cuestión del placer fílmico de las espectadoras. Uno de los objetivos principales es desestabilizar la distinción entre cultura femenina y masculina, así como revaluar ciertos géneros como espacios discursivos válidos para los análisis feministas –abiertos a posibilidades de reinscripción estética, narrativa e ideológica– y de esta manera ofrecer un replanteamiento crítico de la deslegitimación o del olvido habitual de ciertos géneros cinematográficos en contextos particulares. En términos generales, esta tesis se propone examinar con qué tipo de obstáculos y limitaciones se enfrentan las cineastas, sea por su género sexual, sea por el género cinematográfico en el cual eligen trabajar, pero también cómo traspasan o desestabilizan estas fronteras, forzándonos a rediseñar nuestras propias herramientas metodológicas, conceptos y entramados teóricos a partir de los cuales repensar la vigencia del “cine de mujeres” como clave hermenéutica. La tesis se estructura en cinco secciones: un capítulo que incluye el marco teórico, un capítulo dedicado al estudio comparativo y extratextual de la recepción y de la construcción de la figura autorial de las cineastas abordadas en esta investigación, y tres capítulos que contienen análisis detallados de tres géneros fílmicos: cine de terror, western y cine bélico. La intención no ha sido ofrecer una visión panorámica del cine de mujeres estadounidenses en el momento actual, ni trazar la evolución de las respectivas cineastas o tradiciones fílmicas en el sentido más amplio, sino más bien ofrecer una aproximación transversal y sincrónica, que permita destacar los principales problemas que surgen en la intersección del género cinematográfico, la autoría fílmica de mujeres y el género sexual.<br>While a considerable amount of research has been done on so-called “avant-garde” or “oppositional” female filmmakers, women who make films by drawing on popular forms have still to be given sufficient critical attention, in film studies in general, and in feminist film studies in particular. The objective behind this thesis is to address a selection of works of contemporary American filmmakers which have been perceived in the critical discourses as genre films: Jennifer’s Body (2009) as a horror film, directed by Karyn Kusama and written by Diablo Cody, Meek’s Cutoff (2010) as a western, directed by Kelly Reichardt, and The Hurt Locker (2008) as a war film, directed by Kathryn Bigelow. In particular –and taking as a starting point the conceptualization of genre as a process, a repertoire or a constellation of cultural, aesthetic and ideological materials– the aim is to reflect on how these filmmakers use the genericity of filmic storytelling to engage purposefully with past forms, at the same time as contributing to remaking and shifting social imaginaries, especially in terms of gender representation. This thesis seeks to put women filmmakers in context, offering a close examination not only of their films, but also of their public figures, which raise a number of intriguing questions that are crucial to rethinking and problematizing the notion of “women’s cinema”: the distinction between “male” and “female” genres, the growing importance and visibility of authorial images of female filmmakers, the blurring borders between commercial and independent cinema, the context of the so-called postfeminist media culture, and the consideration of female spectatorial pleasures. This thesis neither attempts to offer a panoramic vision of contemporary women’s cinema, nor to trace the evolution of respective filmmakers and filmic traditions in the wider sense, but rather to present a transversal and synchronic approach, one that underlines the principal obstacles that arise at the intersection of film genres, female film authorship, and gender.

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13

König, Christiane. "Ein Blick auf die Rückseite der Leinwand feministische Perspektiven zur Produktion von Weiblichkeit im Diskurs "Film" /." Tübingen : Max Niemeyer, 2004. http://catalog.hathitrust.org/api/volumes/oclc/55963204.html.

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14

Katona, Leah Andrea. "The Use of Violence as Feminist Rhetoric: Third-Wave Feminism in Tarantino's Kill Bill Films." CSUSB ScholarWorks, 2008. https://scholarworks.lib.csusb.edu/etd-project/2759.

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For the purpose of this thesis, the main focus of the feminist rhetorical criticism method was specifically linked to gender-related power inequities. This method was especially appropriate for the analysis of how film violence is used as a feminist rhetorical strategy in the Kill Bill films. This thesis is more closely aligned with challenging rhetorical standards as it sought to identify feminist counter positions of rhetoric in film violence.

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15

Hungerford, Kristen A. "Reproductive Rights in Medical Dramas: A Feminist Analysis of Portrayals of Gender Roles on the Topic of Abortion on Television." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279052562.

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16

White, Theresa Renee. "Media as pedagogy and socializing agent influences of feminine beauty aesthetics in American teen-oriented films and magazines on African American adolescent female self image /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610103761&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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17

Van, Niekerk Tanya. "'N Feministiese analise van animasiekarakters vanuit 'n feministiese benadering." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-10122004-135247.

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18

Ryan, Joelle Ruby. "Reel Gender: Examining the Politics of Trans Images in Film and Media." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1245709749.

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19

Thomas, Quincy D. "Lycra, Legs, and Legitimacy: Performances of Feminine Power in Twentieth Century American Popular Culture." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1521852471021414.

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20

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 symbolically standing in place of the mother? How are these two cases - the Papin sisters and Parker-Hulme - presented in historical documents, reinterpreted in political, psychoanalytic and feminist theories, and represented in theatre and film? How might these works of theatre and film, in particular, be seen to explain - or exploit - these cases for an audience? How is the relationship between prurience - the peeping at women doing something bad - and the use of these cases to produce social commentary and/or art, better understood by looking at these objects of fascination ourselves? My thesis explores how these cases continue to interest and inspire artists and intellectuals, as well as the general public - both because they can be seen to violate fundamental social taboos against mother-murder and incest, and because of the challenge they pose for representation in theatre or film.

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21

Mosher, Victoria. "BEYOND POSTMODERN MARGINS: THEORIZING POSTFEMINIST CONSEQUENCES THROUGH POPULAR FEMALE REPRESENTATION." Master's thesis, Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002141.

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22

Slanker, Lindsey. "Demonic Possession and Fractured Patriarchies in Contemporary Fundamentalist Horror." Wright State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=wright1495803680104155.

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23

Goodwill, Jo-Anne Shirley. "The action hero revisioned : an analysis of female "masculinity" in the new female hero in recent filmic texts." Diss., 2009. http://hdl.handle.net/10500/2641.

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The hero is a key archetype in Western culture. However, the hero has almost invariably been male, with associated traits deemed “masculine” within the gender binary. Feminists have begun to rigorously interrogate this binary, and the associated biological essentialism that precludes women from heroism. The fruits of this process are evident in recent popular filmic texts, which feature women as heroes. I examine developments in gender theory, propose a behaviour-based definition of masculinity, and argue that the new female action heroes authentically perform this masculinity. I then examine several select recent films and television series, showing that the new female action hero proves that “masculinity” can be authentically performed by female-bodied persons, and moreover is a liberatory model for ordinary women who wish to assert themselves in the public sphere. Finally, I argue that female action heroes model a new heroic archetype which embraces the best traits of both “masculinity” and “femininity.” Keywords “women in popular culture” “women as heroes” “gender studies” “film<br>English Studies<br>M.A. (English)

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24

Gray, Katherine L. ""Didn't your mommy tell you that isn't nice?" patterns and shifts in rape-revenge films, 1973-1998 /." 2009. http://hdl.handle.net/10090/8867.

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25

Moodley, Subeshini. "Postcolonial feminisms speaking through an 'accented' cinema : the construction of Indian women in the films of Mira Nair and Deepa Mehta." Thesis, 2004. http://hdl.handle.net/10413/1037.

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This thesis proposes that the merging of the theories of ‘accented’ cinema and postcolonial feminisms allows for the establishment of a theoretical framework for the analysis of (what will be argued for) an emerging postcolonial feminist film practice. In An Accented Cinema: Exilic and Diasporic Filmmaking (2001), Hamid Naficy argues that even though the experiences of diaspora and exile differ from one person to the next, films produced by diasporic filmmakers exhibit similarities at various levels. These similarities, he says, arise as a result of a tension between a very distinct connection to the native country and the need to conform to the host society in which these filmmakers now live. Mira Nair and Deepa Mehta are women filmmakers of the Indian diaspora whose films depict Indian women – in comparison with their popular cinematic construction - in unconventional and controversial ways. These characters, at some crucial point in the films, transgress their oppressive nationalist representation through the reclaiming of their bodies and sexual identities. This similarity of construction in Nair and Mehta’s female protagonists, as a result, facilitates a filtering of postcolonial feminisms throughout the narrative of their films. Even though the postcolonial feminist writings of Chandra Talpade Mohanty (1991, 1994, 1997) and Gayatri Chakravorty Spivak (1990, 1994, 1996, 1999) do not relate directly to the study of film or cinematic practices, their works, specifically those regarding the construction, maintenance and perpetuation of nation and nationalism in postcolonial narratives, serve as a specifically gender-focused appropriation of Naficy’s theories. Mohanty and Spivak’s arguments surrounding the use of text and, particularly, narrative as tools for the representation and empowerment of Third world women, women of colour and subaltern women, work toward illustrating how postcolonial feminisms articulate through a specific moment of ‘accented’ filmmaking: that of women filmmakers of the Indian diaspora.<br>Thesis (M.A.)-University of KwaZulu-Natal, 2004.

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"「我(不)是電影作者」: 論許鞍華的女性電影作者倫理主體". 2012. http://library.cuhk.edu.hk/record=b5549385.

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作為本論文的研究對象，許鞍華在電影界成就無容置疑。惟有關她的學術研究和著作，在數量上寥可所涉攝範圍亦未見全面；後現代語境對主體的抗拒下，許鞍華的電影作者(auteur)往在研究中遭忽略或迴避，抺殺她作為女性電影者的可能。這反映出女性導演在主流電影建制和論述中長期被邊緣化的現象。本論文目標，是冀在填補「許鞍華研究」上的空白，並推進女性電影作者之討論。<br>本論文借用晚期傅柯的倫理主體概念和生存美學作為思考工具，嘗試走出傳統電影作者論和女性電影作者論對主體乃座落於電影作品或觀影者中的的觀點，運用新主體工具帶動思考的轉向，在建立女性電影作品中，對女性主體規範、性道德及國族身份的真理遊戲予以問題化，進行反思、批判挑戰以至顛覆自我技術（technologes of the self ）力圖塑造出一個歷史的、在地流動和停存活於構成狀態中倫理主體。在這個脈絡下，許鞍華電影作品中的延續性和差異，成為了她這倫理電影作者當下的、在地歷史和文化結構中，於電影實踐這場域所進行修工夫，在宏大的權力和知識網絡中，轉化自我與我的主體關係，邁向傅柯式的自我實踐生存美學。<br>Being one of the most renowned and established film directors in Hong Kong, film critics and researchers often show ambivalence in recognizing Ann Hui as an Auteur, which is usually based on the lack a consistent body of themes, techniques and genres observed in Ann Hui’s work. To further complicate the recognition of Ann Hui as an Auteur, more specifically a female auteur, are the tensions between anti-essentialism and naïve humanism on one hand, and the advent of postmodernism’s critique against the Subject on the other. This study sets out to address the marginalization of Ann Hui as a female director in both the film industry and film studies, and seeks to provide theoretical tools for the constitution of agency of a female auteur from the perspective of the Foucauldian thoughts on ethical subjectivity and aesthetics of existence.<br>With a view of achieving a historical rather than ahistorical, a multiple rather than unified, and both as a constituted as well as constituting subject in light of Foucault’s ethical subjectivity, this study challenges the beliefs held by contemporary Auteur theory and feminist auteur theories that film authorship is only located within the repertoire of a film director as signature, or as the reading strategy of the audience. By drawing on the idea of ascesis (askēsis) - a work on oneself which aims at intensifying and transforming one’s relation to oneself - discussions are highlighted in how Ann Hui makes use of film productions as self-practices to reconstitute her own relation with film authorship. This study argues that Ann Hui problematizes the game of truth (jeux de verité) of the hegemonic Auteur that she has been subjugated to, and actively makes herself the subject of an alternative female authorship, with an emphasis on her own personal visions. Through analyzing how this evasive stance further drives Ann Hui's problematization in rethinking, criticizing, challenging or even subverting other games of truth, especially in her ongoing interrogations of the female subject, sexual subject and national identity through the technologies of the self, this study establishes the ways Ann Hui seeks to progress towards the “art of existence by transforming her relations with these rules of conduct, and making her life as a work of art that carries specific aesthetic values and meets distinctive stylistic criteria.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>林婉雯.<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.<br>Includes bibliographical references (leaves 358-385).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstracts in Chinese and English.<br>Lin Wanwen.<br>Chapter 第一章 --- 緒論<br>Chapter 第一節 --- 研究動機：為什麼在乎女性電影作者？為什麼是許鞍華 --- p.1<br>Chapter 第二節 --- 研究背景：電影作者主體的問題化用及思考客體成形 --- p.11<br>Chapter 第三節 --- 研究方法及論文架構 --- p.36<br>Chapter 第二章 --- 晚期傅柯「倫理主體」的啟示<br>Chapter 第一節 --- 傅柯的主體觀：不是回歸，從來就是主體 --- p.47<br>Chapter 第二節 --- 主體和真理遊戲：「知識」、「治理」和「主體化過程」 --- p.54<br>Chapter 第三節 --- 自我技術和自我關懷：主體與生存美學 --- p.63<br>Chapter 第四節 --- 小結 --- p.77<br>Chapter 第三章 --- 許鞍華的女性電影作者倫理主體（一）：「我（不）是電影作者」 --- p.84<br>Chapter 第一節 --- 重拾遺落的碎片：電影作者論在香港構成條件 --- p.85<br>Chapter 第二節 --- 「電影作者」的真理遊戲：許鞍華電影作者身份論述 --- p.118<br>Chapter 第三節 --- 集體創作中的自主創造：《得閒炒飯》的實地觀察 --- p.140<br>Chapter 第四節 --- 小結 --- p.166<br>Chapter 第四章 --- 許鞍華的女性電影作者倫理主體（二）：電影實踐作為自我技術的工夫場域 --- p.170<br>Chapter 第一節 --- 「我她是誰？」：女性主體的真理遊戲 --- p.175<br>Chapter 第二節 --- 馴服與抵抗：性道德規範的真理遊戲 --- p.250<br>Chapter 第三節 --- 何處是吾家：民族和家國的真理遊戲 --- p.281<br>Chapter 第四節 --- 小結 --- p.328<br>Chapter 第五章 --- 結論<br>Chapter 第一節 --- 「屈從」下的不服從：許鞍華女性作者倫理主體 --- p.335<br>Chapter 第二節 --- 研究特色與貢獻 --- p.340<br>Chapter 第三節 --- 前瞻：未完成的方案和可持續發展 --- p.349<br>附錄 --- p.351<br>參考文獻 --- p.358

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"The gendered vampires in contemporary culture: a lesbian feminist reading." 1999. http://library.cuhk.edu.hk/record=b5889884.

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Ina Yee.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 1999.<br>Includes bibliographical references (leaves 87-90).<br>Abstracts in English and Chinese.<br>Acknowledgements --- p.i<br>Table of Contents --- p.ii<br>Abstract --- p.iii<br>Introduction --- p.1<br>The Gendered Vampires in Contemporary Culture<br>Vampires and Contemporary Culture --- p.1<br>Woman/Lesbian as Vampire --- p.7<br>"Ortner and ""the Angel in the House""" --- p.9<br>"Mulvey, Postfeminist Media Critics and the Female Body" --- p.10<br>Butler and the Lesbian Phallus --- p.12<br>Feminism and Postfeminisms --- p.14<br>Chapter Chapter One --- The Woman Vampire: The Fallen Angel --- p.18<br>Woman and Nature --- p.18<br>The Angel and the Woman Vampire --- p.23<br>The Postmodern Dracula --- p.33<br>Conclusion --- p.39<br>Chapter Chapter Two --- The Girl Vampire: The Resistant Female Body --- p.40<br>The Male Gaze --- p.40<br>"""When the Woman Looks"" at a Woman" --- p.47<br>The Postmodern Female Body --- p.56<br>Conclusion --- p.58<br>Chapter Chapter Three --- The Lesbian Vampire: The Female Desire --- p.60<br>The Lacanian Phallus --- p.60<br>The Lesbian Phallus --- p.64<br>The Lesbian Vampire --- p.67<br>The Dark Kiss and Female Sexual Pleasures --- p.70<br>Conclusion --- p.78<br>Conclusion --- p.81<br>Towards an Autonomous Representation of Womanhood<br>Bibliography --- p.87

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Caprio, Temby M. "Women's film culture in the Federal Republic of Germany : female spectators, politics and pleasure from the fifties to the nineties /." 1999. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9920136.

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Suner, Feride Asuman. "Male border crossing films: A feminist/postcolonial analysis." 1996. https://scholarworks.umass.edu/dissertations/AAI9639034.

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This study is an analysis of a group of contemporary Western European and North American films, which are described as male border-crossing films and focus on a state of existential crisis experienced by their male protagonists. The study includes the analysis of Wim Wenders' Kings of the Road (1976); Michelangelo Antonionni's The Passenger (1975); Rainer Werner Fassbinder's Despair (1977) and his episode in Germany in Autumn (1978); and David Cronenberg's The Fly (1986), Dead Ringers (1988) and M. Butterfly (1993). The study aims to develop a critical reading strategy informed by postcolonial and feminist discourses, and to read male border-crossing films on the basis of their cultural politics, rather than their aesthetic and "authorial" characteristics. The study engages in a theoretical exploration of postmodernist, postcolonial and feminist discourses in relation to their critique of the sovereign position occupied by the Western, white, male subject in the Western modernist/imperialist project. The distinction between the situations of a "tourist" and a "refugee" is applied as a metaphor to make sense of the disparate articulations of the notion of "border-crossing" in postmodernist discourse, and postcolonial and feminist discourses. It is argued that the notion of "border-crossing" which appears in male border-crossing films is most consistent with a postmodernist notion of "border-crossing." This study demonstrates that the cultural politics of male border-crossing films is ambivalent. In these films, the questioning of white, male authority can easily turn into its reaffirmation. Western, white, male identity can be restored at the moment when it is supposedly destroyed; or what appears to be border-crossing can as well be seen as border control.

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Wentzel, Gareth Peter. "The archetypes of "bogeyman" and "final girl" within the slasher horror sub-genre: an enquiry into socio-cultural values." Thesis, 2017. https://hdl.handle.net/10539/23887.

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Submitted in partial fulfillment of the requirements for the degree Master in Arts In the Department of Film and Television Faculty of Humanities University of the Witwatersrand March 2017<br>Drawing on Carol Clover’s theory of the male antagonist or "Bogeyman" and the female protagonist or "Final Girl" that define the American Slasher Horror sub-genre, I analyzed two original Slasher films, namely Halloween (Carpenter 1978) and A Nightmare on Elm Street (Craven 1984). I later outlined the evolution of these conventions within the Slasher sub-genre, using the remakes of both films respectively. I then endeavoured to explain the subversion of these conventions in France with the New French Extremity Movement, and analyse how these filmmakers successfully transposed a typical American subgenre to France. Finally, using New French Extremity, I attempted to subvert and transpose these conventions to South Africa by writing, producing and directing a short Slasher film titled The Teddy Bear Man.<br>MT2018

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Hua, Anh. "Memory and cultural trauma : women of color in literature and film /." 2005. http://wwwlib.umi.com/cr/yorku/fullcit?pNR11579.

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Thesis (Ph.D.)--York University, 2005. Graduate Programme in Women's Studies.<br>Typescript. Includes bibliographical references (leaves 192-201). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNR11579

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Terblanche, Catherine. "Dismemberment and dispossession in the work of Quentin Tarantino and Nathalie Djurberg." Diss., 2014. http://hdl.handle.net/10500/18718.

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Text in English<br>This study aims to apply the biopolitical theories of Giorgio Agamben on homo sacer to the stereotypical representation of the violent woman. Using feminist methodologies for dismantling and exposing social stereotypes, this research explores the relationship between femininity, violence and the representation of these. By focussing on the influence of traditional narratives as found in ancient mythology and fairy tales, the study investigates the contemporary portrayal of the stereotypical violent woman using acts of dismemberment and dispossession in the work of Quentin Tarantino and Nathalie Djurberg, which serve as examples of the controversial relationship between real and filmic violence.<br>Art History, Visual Arts & Musicology<br>M.A. (Art History)

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Smith, Julie Lynne. "Fashioning the gothic female body : the representation of women in three of Tim Burton's films." Diss., 2016. http://hdl.handle.net/10500/22190.

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This study explores the construction of the Gothic female body in three films by the director Tim Burton, specifically Batman Returns (1992), Sweeney Todd: The Demon Barber of Fleet Street (2007) and Dark Shadows (2012). Through a deployment of Julia Kristeva’s theory of abjection, the intention is to indicate the degree to which Burton crafts his leading female characters as abject Others and embodiments of Barbara Creed’s ‘monstrous-feminine’. In this Gothic portrayal, the director consistently draws on the essentialised stereotypes of Woman as either ‘virgin’ or ‘whore’ as he shapes his Gothic heroines and femmes fatales. While a gendered duality is established, this is destabilised to an extent, as Burton permits his female characters varying degrees of agency as they acquire monstrous traits. This construction of Woman as monster, this study will show, is founded on a certain fear of femaleness, so reinstating the ideology of Woman as Other.<br>English Studies<br>M.A. (English Studies)

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