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From Reverence to Rape: The Treatment of Women in the Movies
Abstract
For this edition of her classic study of the feminine role in film, Molly Haskell has written a new chapter addressing recent developments in the appearance and perception of women in the movies. "An incisive, exceedingly thoughtful look at the distorted lens through which Hollywood has historically viewed women. It is a valuable contribution not just of film criticism but to a society in which the vital role of women is just beginning to emerge."âChristian Science Monitor "Haskell is interested in womenâhow they are used in movies, how they use movies, and how the parts they play function as projections and verifications of our myths about women's lot and woman's psyche and even, lately, women's lib."âJane Kramer, Village Voice "In examining the goddesses worshipped by an entire nation, Molly Haskell reveals a good deal about our national character and our most cherished sexual myths. . . . Concerned with the deeply ingrained belief of women's inferiority, she analyzes movies as a social product as well as a social arbiter, and she effectively demonstrates how women are encouraged to impose limitations on themselves by fashioning those selves after flickering shadows in a darkened auditoriumâsexual creatures who possess neither ability nor ambition beyond their bodies. . . . Both as an examination of film and as sociology, From Reverence to Rape is excellent."âHarriet Kriegel, The Nation
... Esas cuestiones se remontan a los orígenes del cine y se encuentran entre las preocupaciones de las primeras teorías feministas sobre cine que empezaron a desarrollarse en Estados Unidos y Gran Bretaña en los años setenta. Aparecieron entonces los primeros organismos que reivindicaban cambios en la industria, como el Film Committee of Women for Equality in Media, revistas como Women and Film y se publicaron los primeros libros de crítica feminista como From reverence to rape, de Molly Haskell (1987), o Women and their sexuality in the New Film, de Joan Mellen (1974), que examinan el papel de la mujer en el cine clásico (Iadevito, 2014). Aquellos estudios pretendían, por un lado, "revelar la situación de las mujeres en el cine, así como su representación, y por otro, denunciar la ausencia de éstas en el mundo cinematográfico en general" (Puebla et al, 2013, p. 138). ...
... Se observa que, pese a la diversidad de enfoques e historias narradas, la mirada de las directoras en los relatos sobre ETA crea personajes, especialmente femeninos, que escapan de los estereotipos: ni completamente víctimas ni victimarias. Esos personajes rompen con los estereotipos de "mujer buena" y "mujer mala" que describieron las primeras estudiosas del cine desde el feminismo, como Haskell (1987), y, en este tema concreto, rompen con las ideas preconcebidas que lastraron la imagen de la mujer en relación con el terrorismo (ver Hamilton, 2007) y también con la imagen estereotipada de la víctima como figura pasiva y meramente doliente. Ese hallazgo, que podemos situar en uno de los debates clásicos de los estudios sobre género y comunicación, nos permite ir un paso más allá: la representación de mujeres como la víctima-victimaria, la victimaria o simpatizante que rompe con su pasado o la víctima que se acerca al victimario o que se enfrenta a su historia de manera activa pueden considerarse contraestereotipos, versiones opuestas al estereotipo, a lo establecido en el imaginario. ...
El cine sigue siendo un sector masculinizado, sobre todo en los puestos directivos, creativos o técnicos. En ese contexto, exploramos la obra de las directoras al cine español en torno al terrorismo de ETA (1977-2023) para observar y valorar la aportación de la mujer en un entorno masculino por partida doble: la dirección de cine y la violencia terrorista. En el marco de la llamada “batalla del relato” y de los estudios de cine y género, y a partir de una metodología cualitativa basada en el análisis textual de los largometrajes y del estudio de la bibliografía, rastreamos la presencia y voz de las directoras. Nos preguntamos cuántas y quiénes son y cuál es su aportación al cine en torno a ETA y al cine español en general. Observamos qué historias, géneros y temas escogen y desde qué perspectivas los abordan. Atendemos a la forma y a cuestiones contextuales relacionadas con la producción y recepción de las obras. Los resultados muestran que las directoras son una minoría en el cine en torno al terrorismo en Euskadi y concluimos que sus trabajos pueden verse como una disrupción en un entorno adverso. Prefieren géneros como el drama o el documental, apuestan por una perspectiva humana, varias recogen historias reales o basadas en hechos reales cuyas protagonistas son mujeres fuertes y libres, y se acercan a historias de víctimas. Presentan personajes, sobre todo femeninos, que se escapan de los estereotipos y, en general, realizan una aportación a la memoria de lo sucedido crítica con la violencia.
... In the 1970s, three established feminist film theories centered around "images of women" (White 1998). The reflection theory (Rosen 1973;Haskell 1974) posits that films "mirror" social reality, while semiotics and ideology critique (Johnston 1973) explored "women's films as counter films". The influential psychoanalysis theory (Mulvey 1975) explored the concept of "woman as image and man as bearer of the look". ...
... In the 1970s, three established feminist film theories centered around "images of women" (White 1998). The reflection theory (Rosen 1973;Haskell 1974) posits that films "mirror" social reality, while semiotics and ideology critique (Johnston 1973) explored "women's films as counter films". The influential psychoanalysis theory (Mulvey 1975) explored the concept of "woman as image and man as bearer of the look". ...
Silent cinema acted as a bridge between early motion pictures and today’s film industry, playing a transformative role in shaping feminist film history and American society. This article explores pioneering American women in the silent film industry who ventured into technology, film culture, marginalized communities, and social movements. Despite the prevalence of racist and sexist propaganda, American silent films were a frontier for innovation, filmmaking, and exploring the New Women concept. This study examines 23 American silent films that have often been overlooked and rarely studied, whereby film analysis generally aligns with established feminist silent film theories. By shedding light on a previously overlooked film directed by May Tully, this study challenges the widespread belief that there existed “no women directors in 1925”. The examination of databases reaffirms American women directors’ contributions to silent films, especially during the early years of the silent film era. The results modify the previous scholarly notion that “influential women directors’ involvement was over by 1925”. Following an initial surge in their active leadership during the early years, influential women directors’ participation was over after 1922, rather than 1925.
... From the 1950s to the early 1960s, the proportion of women in screenwriting remained between 12% and 13%. During the period from 1962 to 1971, the percentage of new female entrants into screenwriting fell to its lowest in history, a period that film critic Molly Haskell referred to as "the most depressing time in screen history," as she believed the portrayal and significance of women in film reached a nadir during this era [37]. ...
When the film and television work in the form of a "big heroine" appears, it is known that a strong female image; the woman at the peak of life, even at the top of the world, is shaped as a "sense of power woman". But the life logic of these women, the ruling logic, and the fundamental victory of the narrative logic battle can all be attributed to the space of male logic. Therefore, the representation of women's sense of power in the films and documentaries examined by the author today does not involve women who merely simulate strength through male narrative logic. Instead, it focuses on women who authentically follow their own realities. These are women who are secretive and composed assassins, talented writers, and resilient workers. They are allowed to be emotionally vulnerable, have the right to make their own choices, and genuinely embody a sense of power.
... In addition to the archival-empirical method, we grounded our examination of a backlash against feminism in a discussion of the representation of women in front of and behind the camera. This method stands in a tradition of feminist film studies that insists on the relationship between the cultural condition and the portrayal of women in film (e.g., Gledhill, 1987;Haskell, 1987;Sellier, 2008). Today, a new direction of this tradition is found in studies that combine quantitative data with qualitative readings, sometimes referred to as Data Feminism (D'Ignazio & Klein, 2023). ...
In this article, we ask if there was a backlash against film feminism in Norway in the 1980s. In Norwegian film history, this decade is known as “the helicopter period” and is associated with a turn towards commercial genre film and classical dramaturgy. This has usually been narrated as a success story for Norwegian cinema. It is, however, also a decade connected to a loss of position for the women directors who had gained a footing in Norwegian cinema in the 1970s. We thus question the idea of progress associated with this decade in film history and propose avenues of investigation. We explore the loss of position of female directors by looking at film reception and film criticism. We further present and discuss a numerical breakdown of women directors and female lead characters in the 1980s and 1990s and point to thematic readings of the on-screen portrayal of women characters in this time span. We find evidence of aggression towards women and a disappearance of women’s film and argue that this points to an anti-feminist pushback in Norwegian cinema of the 1980s and 1990s.
... The announcement of the Cinémhymen, 15 years earlier, would coincide with these postulates by emphasizing that the service offered to their clients would provide them with the images of their beloved ones reflecting "their true character and genius". This takes for granted that they would never show themselves as they really were since, in society (then in public and not in private), their attitudes would be "studied", meaning that they would be voluntarily artificial and their conversations "insipid" or, what would be the same, trivial, in order to mislead about their authentic opinions, in case they were granted to have them, since lying is a woman's game [14]. ...
In 1914, El Noticiero Sevillano and other Spanish newspapers published a piece about the Cinémhymen, a cinematographic device designed to capture and sell images of prospective wives. This article explores why this advertisement was not considered derogatory and examines the construction of a patriarchy during a time when the term “feminist” was already appearing in the Spanish press. In our methodology, we analyzed the name of the device and the business, both based on the word Hymen, used a bibliographic review of Spanish feminism of those years, and researched the film technology of the time. The Manzano’s pyramid of oppression served us in establishing the control operations underlying the advertisement. Our study reveals the patriarchal principles of Cinémhymen, which stigmatized women once they conformed to the expected role. The objectifying gaze present in Cinémhymen provides insight into the progression of patriarchy in a visual world that subjugates women. The camera could see through the female masquerade (as Joan Rivière explained) and explore the “true” body underneath, the very core of the female (or what is considered to be). In some ways, Cinémhymen serves as a precursor to the current subjugation seen in online pornography and represents a distorted evolution of the panopticon principle as applied to women.
... İlk dönem sessiz filmlerden itibaren kadın ve erkek karakterler belirli stereotipler çerçevesinde şekillendirilmiştir. Kadınlar genellikle fedakâr anneler, masum genç kızlar ya da femme fatale karakterler olarak temsil edilirken, erkekler güçlü, koruyucu ve aktif rollerde sunulmuştur (Haskell, 1987). Bu cinsiyet temsilleri, sadece sinemanın erken dönemlerinde değil, günümüze kadar uzanan bir süreçte de kendini göstermiştir. ...
Bu araştırmanın temel amacı, interaktif filmlerdeki dramatik anlatının toplumsal cinsiyet algısı üzerindeki etkisini psikofizyolojik veri hasadı tekniği kullanarak incelemektir. İnteraktif filmler, izleyici katılımını ve etkileşimini sağlayarak geleneksel sinema deneyimlerinden farklılaşmaktadır. Çalışma, 'Late Shift' ve 'The Complex' interaktif filmleri üzerinde gerçekleştirilmiştir. Bulgular, dramatik anlatının ve karakter özdeşleşmesinin toplumsal cinsiyet algısı üzerindeki etkilerini detaylı bir şekilde ortaya koymuştur. GSR ve göz izleme verileri, katılımcıların duygusal ve bilişsel tepkilerini ortaya çıkararak, toplumsal cinsiyet rollerine göre nasıl davrandıklarını analiz etmiştir. Özellikle, katılımcıların göz hareketleri ve deri tepkileri, dramatik anlatının yoğunluğuna ve karakterlerin cinsiyet rollerine bağlı olarak değişiklik göstermiştir. Yarı yapılandırılmış görüşmeler ise katılımcıların interaktif filmlerdeki karakterlerle olan etkileşimlerini ve bu etkileşimlerin toplumsal cinsiyet baskılarıyla nasıl şekillendiğini derinlemesine anlamamızı sağlamıştır. Sonuç olarak, bu çalışma, interaktif filmlerin izleyici davranışları üzerindeki etkilerini, toplumsal cinsiyet rollerinin ve bilinçdışı karar alma süreçlerinin ışığında inceleyerek, interaktif sinema alanına önemli katkılar sunmaktadır. İzleyicilerin bilinçdışı düzeyde yapmak istedikleri seçimler ile toplumsal baskılar sonucu yaptıkları seçimler arasındaki farklar, dijitalleşen dünyada toplumsal cinsiyet algısının yeniden değerlendirilmesini sağlamaktadır.
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The main purpose of this study is to examine the effect of dramatic narrative in interactive films on gender perception using psychophysiological data harvesting technique. Interactive films differentiate from traditional cinema experiences by enabling audience participation and interaction. The study was conducted on the interactive films 'Late Shift' and 'The Complex'. The findings revealed in detail the effects of dramatic narrative and character identification on gender perception. GSR and eye-tracking data revealed participants' emotional and cognitive responses and analyzed how they behaved according to gender roles. In particular, participants' eye movements and skin reactions varied depending on the intensity of the dramatic narrative and the gender roles of the characters. Semi-structured interviews provided an in-depth understanding of the participants' interactions with the characters in the interactive films and how these interactions were shaped by gender oppression. In conclusion, this study contributes to the field of interactive cinema by examining the effects of interactive films on audience behavior in the light of gender roles and unconscious decision-making processes. The differences between the choices that viewers want to make on an unconscious level and the choices they make as a result of social pressures provide a re-evaluation of gender perception in a digitalized world.
KEYWORDS: Interactive Film, Gender, Psychophysiological Data Harvesting, Jungian Archetypes, Character Identification
... As Han (2023, 20) underscores, discourse often operates under the control and selection of dominant groups, granting discursive power to those in authority. While women under patriarchal rule may appear confined by established authorities, their resistance is not passive; instead, they actively construct spaces for female discourse within their restricted spheres, challenging male dominance and affirming the worth of women (Foster 2012;Haskell 2016). Wang (2002, 154) delves into the dual nature of discourse, observing that while certain discourses are open to all, others remain exclusive to specific speakers, with access restricted at times. ...
This paper reexamines Charlotte Brontë’s Jane Eyre through a Foucauldian lens, focusing on how traditional societal structures and the rise of capitalism impact women in 19th-century Britain, as observed by literary critic Sandra M. Gilbert and Gayatri C. Spivak. It analyses Jane’s journey through oppressive environments such as Gateshead Hall, Lowood School, Thornfield Hall, and Marsh End, culminating in her retreat to Ferndean Manor. These settings are interpreted as sites of power that impose disciplinary measures on Jane, both physically and mentally, with windows symbolising possible escape routes. The study argues that Jane represents a female rebel challenging patriarchal constraints and seeking personal freedom and equality. Despite her attempts to transcend societal and economic confines, her ultimate settlement at Ferndean Manor highlights the persistent influence of the old societal order, illustrating the novel’s realism and the complex, inescapable nature of reality. This interpretation enriches the ongoing scholarly discussion about Jane Eyre in light of its relevance to discussions of gender, power dynamics, and societal change.
... był bowiem frontem, glebą chroniącą ziarno rebelii. Kulturowa dezorientacja już się rozpoczęła, choć nie była jeszcze całkiem rozpoznana 36 . ...
Rock’n’roll stał się kulturowym i popkulturowym fenomenem lat 50. w Stanach Zjednoczonych, nie tylko rewolucjonizując scenę muzyczną, ale i wywierając głęboki wpływ na kinematografię. Zarówno wielkie studia, jak i producenci niezależni chcieli skapitalizować jego bezprecedensowy oddźwięk, zwłaszcza wśród nastoletniej publiczności. Rewolucyjny i subwersywny potencjał rock’n’rolla, opór starszej generacji, jego natychmiastowe powiązanie w społecznym odbiorze z buntem i przestępczością młodocianych sprawiły, że powstające filmy, manewrując między cenzurą i moralną paniką a hołdowaniem „nastokulturze”, stanowią do dziś interesujący przedmiot analizy osadzającej fenomeny muzyczne i kinematograficzne w kontekście społecznym.
... According to Molly Haskell feminism made it possible for the filmmakers to eliminate women from the film narrative which from now on could be dedicated solely to men's things, men's values and men's… passions. So it was not without reason that the feminists were the first to take up the problem of meaning of male bonds in buddy films, the films which -according to them -solely strengthened the power of male hegemony 19 . Haskell, following the notion of a buddy system suggested by Leslie Fiedler in the field of literature, notices that what strikes in the relations between men depicted in American films is their emotional intensity which, however, cannot be reduced solely to sexual desire. ...
One of the dominant themes in the work of Andrzej Wajda is the male homo-social desire. In The Promised Land it takes on a particularly dangerous form. Placing homosexuality (or more broadly – sexual minority) within a context of tolerant and accepting male community does not fit into accepted narrative of the nation, within which gays are always presented as enemies. Although in the film the ideal body of a Pole is contrasted with the anti-body of a homosexual Jew, the relations between them are not shaped according to the national, anti-gay script. Multicultural male homo-community is an alternative to family life and nation-state identity. In Wajda’s film the weaning patriotic ethos clashes with the emerging, future oriented community. The analysis of the male homo-social community is preceded by a presentation and analysis of the American sub-genre of buddy films of the 1970s, to which Wajda directly refers. [originally published in Polish in Kwartalnik Filmowy 2012, no. 77-78, pp. 25-54]
... Molly Haskell (2016) observes that Hollywood promoted the western conceptualization of women as inferior objects of desire through films that promote romantic ideals and conjugal fantasies. She opines that women in cinema act as vessels of both men's and women's fantasies and fashion: ...
This article investigates how Bollywood cinema represented girlhood experiences in India in the early 1970s. It argues that the films during this time focused on representing girls who displayed a variety of new fashion styles and attitudes, some of which were borrowed from western cultures. This was a sign that there was a new way of representing girls which broke with the submissive, dull and melancholic sari-wearing Indian female stereotype entrapped within domestic settings. The immediate result of this was the emergence of new style leaders and popular icons in Indian popular cinema. This study uses Stephen Greenblatt’s concept of self-fashioning and Guy Mankowski’s idea of self-design to examine how Indian girlhood was renegotiated in the 1970s as an individual-centric idea with more agency and power. Here, self-fashioning refers to the way girls adopt new elements of fashion, styles and attitudes to distinguish their identity from earlier archetypal modes of representation in film and culture. It specifically analyses the emergence of Jaya Bhaduri in Guddi (1971) and Dimple Kapadia in Bobby (1973) as case studies to understand the transformation of girlhood representations in early 1970s Bollywood that opened a new space for girls to redefine their selfhood through the assimilation of consumerism, western culture and fashion styles.
... Gender issues have pervaded film studies since the early 1970s, providing knowledge about how gender is being represented on screen (see e.g. Haskell 1975;Rosen 1973;Mulvey 1975). In recent years studies of how gender plays out behind the screen have attracted more attention (see e.g. ...
How issues of gender equality intertwine with age in the film industry is seldom addressed in studies focussing on film and gender equality behind the camera. It is symptomatic that when a recent gender equality report from the Swedish Film Institute (SFI, Vilka kvinnor? Jämställdhetsrapport 2019/20, https://www.filminstitutet.se/globalassets/_dokument/rapporter/vilka_kvinnor_jamstalldhetsrapport-2019-2020.pdf, 2020) set out to discuss age, the focus is on women actors “falling off the cliff” at the age of 40—as put by Gena Davies. This chapter presents a study based on qualitative interviews with women of various ages working behind the camera in the Swedish film industry. We discuss how these women speak about age and analyse their experiences using the concept of gendered ageism. A particular emphasis is put on two of Sweden’s most famous women directors, with major successes in the 1980s and 1990s—Suzanne Osten and Christina Olofson. This chapter also provides a more general discussion about how women of various ages reproduce a distinction between young and promising and mature and professional in their narration of how gendered age plays into their working conditions.KeywordsQualitative interviewsGendered ageismWork life experiencesSuzanne OstenChristina Olofson
In India, the emergence of Over-the-Top (OTT) platforms has transformed media consumption and changed the way society tells stories. This study examines how OTT content affects two crucial areas: women's representation and the evolution of sports
culture. This study explores how streaming platforms have evolved into change agents that promote empowerment and redefine conventional beliefs and women's participation in sports.
The purpose of this paper is to analyze the four female characters in the film Ne Zha 2 -Lady Yin, Crane Girl, Ao Run, and Lady Shiji-by exploring the ways in which their roles are presented in the film, it reveals how traditional gender biases and societal expectations affect women's position in the power structure.Lady Yin, as a mother and female general, is marginalized as a sacrificial character in the story despite her leadership.Crane Girl has a high status among the divine attendants, yet remains as a subordinate to the male characters, reflecting a clear gender hierarchical order.The characters of Ao Run and Lady Shiji also present different gendered behaviors and dilemmas, demonstrating the invisible limitations of women in power struggles in traditional Chinese culture.This paper argues that these female role settings reflect deeper social gender norms and contribute to gender bias in contemporary media.
Geleneksel sinema anlayışından farklı olarak, interaktif filmler izleyicilerin aktif katılımını ve kararlarının hikâyeyi şekillendirmesini sağlamaktadır. Etkileşimli anlatı biçimi, izleyicilerin karakterlerle özdeşleşme süreçlerini daha dinamik ve kişisel hale getirirken, etkileşimli karar süreçlerinin toplumsal cinsiyet algıları üzerindeki etkilerini de anlamamıza yönelik önemli bir olanak sunmaktadır. Bu çerçeve dahilinde araştırma, interaktif filmlerde dramatik anlatının toplumsal cinsiyet algısı üzerindeki etkisini incelemektedir.
The representation of women has been an integral part of China’s century-long cinematic history. Using Laura Mulvey’s gaze theory as the theoretical framework, this study reexamines the role types of women in Chinese cinema from the gendered perspective of visual pleasure. Through textual analysis, this study explores the portrayal of female characters in Chinese films and categorizes them into three archetypes: passive-submissive, seductive-alluring, and epic-resistance types. The analysis focuses on iconic Chinese films such as Raise the Red Lantern (1991), Farewell My Concubine (1993), and Mulan (2009). By examining the identity and status of women within the visual pleasure provided by traditional narrative cinema, the study investigates how the male gaze shapes and influences female characters. Furthermore, the research reveals the marginalization and entrenched stereotypes of female roles in a male-dominated film industry while exploring broader possibilities for female representation.
This paper explores the emotions of one of Ingmar Bergman’s most iconic feminine characters, from his 1953 film, Summer with Monika. While describing the protagonist’s arc, the analytic approach focuses on Monika’s maturing from a narrative perspective, following the stages of the hero’s journey and exploring her descent into melancholy. Starting from the premise that Monika possesses some of the traits of Bovaryc psychology, as developed by Flaubert and Jules de Gaultier, the character’s change from heroine to antiheroine is followed, putting an emphasis on the way her melancholy affects her fate. Keywords: Ingmar Bergman, melancholy, emotions, Bovarysm, hero, monomyth.
Jednym z głównych bohaterów twórczości Andrzeja Wajdy jest męskie pragnienie homospołeczne. W Ziemi obiecanej przybiera ono szczególnie niebezpieczną postać. Wpisanie homoseksualisty (czy szerzej: seksualnej odmienności) w ramy męskiej wspólnoty i zaakceptowanie go nie mieści się bowiem w ramach narracji narodowej, w której gej zawsze jawi się jako wróg. Choć idealne ciało Polaka przeciwstawione zostaje tu anty-ciału homoseksualnego Żyda, to relacje między nimi nie kształtują się podług charakterystycznego dla narodowych narracji antyhomoseksualnego scenariusza. Wielonarodowa męska homospołeczność tworzy alternatywę dla życia rodzinnego i narodowego. W filmie Wajdy ściera się odchodzący w przeszłość patriotyczny etos z rodzącą się inną, wychyloną ku przyszłości, zbiorowością. Analizę męskiej wspólnoty homospołecznej wobec dyskursu narodowego poprzedza omówienie charakterystycznego dla amerykańskiego kina lat 70. podgatunku buddy film, do którego reżyser wprost się odwołuje.
Starting from the corruption of micro constituents (cellulose and pixels) to that of the human figure (the filmed body or macro level of representation), and concluding with the meta-level and the aesthetic impurity of the medium of film itself, this article looks at the ways in which corruption in film manifests itself, at one and the same time, through the material and the symbolic, the micro and macro levels. Doing so, corruption emerges unexpectedly as a connecting principle that runs through the entire spectrum of film production, from the most experimental to commercial and genre cinema. What transpires, in such an outlook, is the extent of the transgressive and productive power unleashed by forms of corruption that affect film at all levels of its existence and appearance.
This is not just a book about Latin American women filmmakers or the female characters in their films. Female Agency in Films Made by Latin American Women is a political project. At a time when the rights of women and LGBTQI+ people are under assault in the United States and elsewhere, this book envisions audiovisual discourse as a means of empowerment, exploring the links between filmmaking and gender-based social activism.
En la actualidad, los documentales sobre celebridades del deporte como protagonistas se han consolidado como formato en las plataformas VOD, siendo el fútbol en España, el de mayor producción. La miniserie Alexia, Labor Omnia Vincit (Amazon Prime Video, 2022), sobre la jugadora del F.C. Barcelona Alexia Putellas como heroína del fútbol femenino tras ganar el Balón de Oro 2021 y 2022, premio FIFA The Best, el Globe Soccer Awards y Mejor jugadora del año por la UEFA en dos ediciones consecutivas. Desde una perspectiva de género, este artículo analiza este documental sobre la figura de Putellas a partir de la idea del estrellato futbolístico como mitología contemporánea, concluyendo que su dimensión transnacional es sintomática de la cultura globalizada.
This paper analyzes Chinese female director Teng Congcong’s film Send Me to the Clouds to reveal the relationship between female consciousness and ideologies of power in the context of the current Chinese era. We examine the narrative strategies, imagery symbols and power ideologies in the film through Foucault’s body theory and feminist film theory. Send Me to the Clouds takes the redemption of life as its narrative strategy and incorporates elements of humor and absurdity. The film changes the initiator of sexual pleasure to the female protagonist, and the male becomes a passive character who is a cheater, a coward which is an attempt to break the “stereotype” of female passivity in the traditional Chinese cultural settings, to create an important role for female consciousness and ideology of power in this life-saving film. However, it is important to critically examine the limitations and subjectivity of the film, especially whether it subverts the traditional mainstream ideology in its artistic expression of “female consciousness”. This study provides insights into Chinese feminist film narratives and further discusses the significance and role of Chinese female consciousness in the global feminist film discourse.
It is essential to investigate what constitutes the cinematic female gaze to discuss the potential differentiation in films directed by female directors from traditional cinema. The concept of the female gaze, frequently brought to the forefront in recent years, remains a subject of ongoing academic research. This study aims to contribute to the definition of the cinematic female gaze by examining how it is constructed in cinema. For this purpose, the film Something Useful (2017) directed by Pelin Esmer, was selected and analyzed using a textual film analysis method that prioritizes visual, auditory, and thematic elements. According to the findings, the look, sound, perspective, emotions, thoughts, feelings, and inner state of the female character in Something Useful, briefly the qualities that nourish her subjectivity—are conveyed to the audience or are made to be felt by the audience, through various cinematographic, editing, and mise-en-scène tools. The subjectivity of woman is also thematically emphasized by her interaction with social life, relationships between women and a curiosity to understand and define life. The film diverges from mainstream cinema codes by having process-orientedness and passionate detachment. When these features are considered along with other studies in the literature, it becomes possible to propose a potential definition for the construction of the cinematic female gaze.
A critical analysis of the patriarchal construction of feminine identity through food symbolism.
In Reframing Trauma in Contemporary Fiction Film, Tarja Laine provides insights into how cinema engages its spectator emotionally with the pathology of memory that lies at the heart of trauma. By arguing that cinema communicates the inability to process a traumatic event by means of its aesthetic specificity, Laine demonstrates that traumatic cinema can be an important source of ethical knowledge, both within and beyond the cinematic world. The films discussed in this book do not necessarily narrate trauma but embody that aspect of trauma which resists narrativization. This is why there are modes of affective engagement beyond storytelling by which spectators can meaningfully relate to trauma. Scholars of film studies, media studies, and philosophy will find this book of particular interest.
Since the birth of the genre, American horror filmmakers have posed female characters as prey and objects of sexual desire. Adolescent women in particular act as both the victim and as eye candy for viewers. From the damsel in distress to the rape victim seeking revenge, women in horror films exist to be antagonized, and so often, their exhibition of femininity and sexuality determines the severity of their suffering. Moreover, though the popular horror film narrative tends to explore the fringes of human nature, few horror films openly deal with the fears and concerns of women outside of threats to their physical being. In the past decade, the horror genre has produced a new crop of young female characters who challenge the tropes of traditional horror films by trading in their role of damsel in distress for the role of the antagonist and anti-hero. What’s more, these films deal with themes relevant to young women, such as body image issues, tumultuous relationships, and sexual repression. In this thesis, I analyze the popular American horror film Jennifer’s Body (2009), which features two violent female protagonists and explores the horrors of adolescent female friendships. In my analysis, I examine whether or not the re-imagined female characters in this film are a progressive reconstruction of gender, and identify ideological conventions of the horror genre that continue to denigrate femininity and female sexuality.
Résumé
En ce début du XXIe siècle où les mouvements féministes gagnent en envergure et en profondeur, les cinéastes tentent de proposer une nouvelle image de la sportive plus en phase avec les aspirations sociétales. En effet, les personnages qu’ils campent progressivement dans leurs fictions se libèrent des stéréotypes sexués, transcendant ainsi les archétypes du « garçon manqué » ou de l’« éternel féminin ». À l’écran, ces femmes athlétiques se démarquent par leur diversité et incarnent tout aussi bien un militantisme féminin, une ascension sociale, une revendication identitaire, une dénonciation d’abus sexuel ou encore une expression ethnique. Cette transformation contemporaine du regard cinématographique reflète l’engagement renouvelé de plusieurs scénaristes et réalisateurs qui, désormais ancrés dans une approche intersectionnelle, reconnaissent non seulement les spécificités de chaque individu mais aussi celles propres à chaque nation. À travers une analyse comparative de vingt-trois films français et vingt-deux films chinois, cette thèse s’attèle à examiner la reconstruction en cours de l’imaginaire collectif sur la femme sportive, afin d’appréhender l’évolution des mentalités du temps présent. Elle met en évidence un cinéma français qui démantèle graduellement la masculinité (ou la féminité) hégémonique, et un cinéma chinois qui, de manière beaucoup plus discrète, conteste la suprématie du régime communiste sur les individus.
Abstract
In the early 21st century, as feminist movements gain momentum and depth, numbers of filmmakers endeavor to present a novel portrayal of the female athlete that resonates with societal aspirations. Indeed, the characters they progressively depict in their narratives break away from gendered stereotypes, thus transcending the archetypes of the “tomboy” or the “eternal feminine”. On screen, these sportswomen distinguish themselves through their diversity, embodying facets such as feminist activism, social advancement, identity assertion, denunciation of sexual abuse, and even ethnic expression. This contemporary transformation of cinematic perspective reflects the renewed commitment of numerous screenwriters and directors who, now firmly rooted in an intersectional approach, recognize not only the specificities of each individual but also those of each nation. Through a comparative analysis of twenty-three French films and twenty-two Chinese films, this thesis undertakes the examination of the ongoing reconstruction of the collective imagination surrounding the female athlete, with the aim of comprehending the evolution of contemporary attitudes. It highlights a French cinema that gradually dismantles hegemonic masculinity (or femininity) and a Chinese cinema that, in a more subdued manner, challenges the supremacy of the communist regime over individuals.
Bu makale yönetmenliğini Ahu Öztürk’ün yaptığı Toz Bezi filmindeki ana karakterler Nesrin ve Hatun’un toplumsal cinsiyet, sınıf ve etnik kimlik üzerinden deneyimledikleri toplumsal eşitsizlikleri kesişimsellik perspektifinden inceler. İstanbul’da göçmen, eş, kadın, Kürt, ve ev işçisi gibi çeşitli ‘ötekilik’ hallerinin taşıyıcıları olan kadınların birbirleri, işverenleri ve eşleriyle karşılaşmaları, çatışmaları ve işbirlikleri analiz edilir. Farklı ötekilik hallerinin taşıyıcıları olarak ekonomi, aile ve devlet gibi sistemlere uyumlanmak için gündelik yaşam stratejileri geliştiren kadınlar, bir yandan kurdukları iş birlikleri ve dayanışma ağları sayesinde iktidarların yönetimsellik aygıtlarından kaçmanın da yollarını ararlar. Makale yönetmenin bakışı ve ana karakterlerle kurduğu ilişkiyi de kesişimselliğin bir parçası olarak ele alır. Yönetmenin karakterleri temsili ve hikayeyi anlatım biçimi de kadın karakterlerle kurduğu iş birliğinin bir nişanesidir. Yönetmen bakışının da kesişimsellik analizinin, karşılaşmalar ve iş birliklerinin bir unsuru olarak değerlendirilmesi sosyolojik film okumaları, toplumsal cinsiyet çalışmaları ve feminist film analizi literatürüne özgün bir katkı sunar.
“A női humor vetületei”(“Aspects of women’s humor”)in TNTeF, Társadalmi Nemek Tudománya Interdiszciplináris eFolyóirat, Volume8, Number 2, 2018, pp. 5-25, (ISSN: 2062-7084), available:http://tntefjournal.hu/vol8/iss2/tothzsa.pdf
Dolgozatomban a női humor és humorhasználat kérdéseit szeretném körüljárni. Habár ma már elfogadott tény, hogy a nők biológiailag, pszichésen, vagy kognitív szempontból nem különböznek a férfiaktól a humor létrehozása, felismerése, megértése vagy értékelése szempontjából, mégis viszonylag elenyésző számú női humoristát tartunk a műfajt meghatározó alkotóként számon, legyen szó akár az irodalom, a képregény, a színház vagy a stand-up komédia, stb. művészi megnyilatkozásairól. Ennek a marginalizációnak okai elsősorban a patriarchális kulturális berendezkedés prekoncepcióiban keresendők. A humor és a társadalmi nem viszonyának vizsgálatakor többnyire az a végső konklúzió, hogy a társadalmi kondicionálás, a kulturális elvárások, és a hierarchikusan elrendezett nemi szerepek eredménye az, hogy a nőket kevésbé és ritkábban tekintik humorosnak mint a vicc kritikus/kreatív ágenciájával társított férfiakat. A jelen tanulmány arra is igyekszik rávilágítani, hogy bár a magyarországi viszonyok pozitív irányban kezdenek változni, például egyre több a sikeres női stand-up előadó, viszont a magyar humorkutatás még mindig marginalizált kérdésként kezeli a női humort azon minimális figyelem keretén belül, amit ennek a témának egyáltalán szentelnek. Ezért a hazai és a külföldi, elsősorban angolszász, szakirodalom összevetésével azt is megvizsgálom miért is lenne érdemes nagyobb figyelmet szentelni a női humornak itthon is.
The human body has always been the subject of politics and ideology as a point of focus of power and authority, and has been emphasised as an area of investment, its distinction, torture, or the strength and energy it imposes on itself. This body has been emphasised throughout history as a useful and convenient machine. This body, as a social interpretation, made a place for power and a subject of persecution and obedience; both social and political systems should put their silence on the body in order to excel.With all that is present at the global level of various discussions and opinions, the researchers notice this rudeness in the Middle Eastern academic fields in touching on such sensitive phenomena as destitution and damage to the academic body, its cultural restriction, its concentration on spoken speech and the word, and its lack of attention. It is optical in the theatrical and cinematic arts, and even in the photographic arts. Hence, we can point out that the visual fields can detect real notions of thinking and build another type of visual discourse, considering that contemporary culture is not only the culture of the spoken or written word, but rather it appeared as a different culture in which fine arts of all kinds mixed and debated, and this allows it to communicate and continue with others through various mediums, including the image and its significance.This study attempts to approach the manifestations of the female body in the visual arts, in particular theatre and cinema, by examining the experiences of Moroccan and Kurdish actresses, addressing areas of freedom that give them freedom of movement in dramatic play, whether in theatre or cinema, and analysing the possibility of using the body in the many attempts of directors who took their work as a way to convey a different view of women and their social status and deal with it as a different culture
This paper investigates how women, and their roles in changing Yugoslav society, were represented in Yugoslav New Film (1961-1972). Socialist Federative Republic of Yugoslavia legalized gender equality in the wake of the Second World War, but the tentacles of patriarchy, which were difficult to eradicate, still lingered from pre-socialist times. In many movies there is a recurring pattern of sexual violence towards women. One possible interpretation of depicted sexual violation, for example gang rape in contemporary-themed Yugoslav New Films, is as a patriarchal punishment for emancipation of women in terms of education, work, or their sexuality. In order to examine this, the feature-length fictional films: Povratak/The Return (Živojin Pavlović, 1966) and Horoskop/Horoscope (Boro Drašković, 1969), in which the freedom of women’s emancipation was smothered by gang rape, are selected for the case study and analysed. The films are explored through the lens of feminist film theory, via close reading. Besides, the concept of the gaze is applied. Furthermore, I scrutinise whether these representations of rape and their aftermaths condone, or condemn brutality toward female characters, or have rather ambivalent stance toward it.
With a career spanning over five decades and that includes credits as producer, writer and director, Lita Stantic has been a leading voice at every turn of Argentina’s film culture since the 1960s. While scholarship on Stantic abounds, her body of work has seldom been studied from a strictly feminist perspective. Constanza Burucúa’s chapter conceives Stantic’s trajectory as exemplary of the complexities entailed in the notion of women’s cinema, proving that Claire Johnston’s classic conceptualisations of this cinema as a space for counter-hegemonic discursive disruptions (1973) are still relevant and productive. Moreover, Burucúa argues that the reading of Stantic’s work in view of more current lines of enquiry in feminist research, which look at textual practices within specific social and historical conjunctures, provides a comprehensive understanding of the long-lasting impact of her legacy.KeywordsLita StanticWomen’s cinemaCounter-cinema
Un muro de silencio/A Wall of Silence
Film productionFeminism
Psychoanalytic feminism is a theory of oppression which asserts that men have an inherent psychological need to subjugate women. The root of men’s compulsion to dominate women and women’s minimal resistance to subjugation lies deep within the human psyche. Indian film industry has been phallocentric depicting mainly male dominated narrative structure whereas women are reduced to marginalized roles only to glamorize the hero-centric set up. These films rarely portray women and their isolated worlds because this subject would be a commercial set back preventing audiences from hitting the theatres. This stereotyped representation of women has been always criticized by feminist film critics. Laura Mulvey, one of the most influential feminist film critic in her 1975 seminal essay “Visual Pleasure And Narrative Cinema” criticizes this patriarchal control and for-profit nature of cinema using psychoanalytic theory. Considering Mulvey’s psychoanalytic theory, this research paper attempts to explore that how social construction of patriarchy determines gender stereotyping & phallocentrism in Indian film industry and seeks to examine the various factors behind the misrepresentation of women in Indian cinema. The paper further intends to take into account why male centric films receive huge commercial success as compared to female ones.
Los artículos reunidos en este libro estudian la relación entre el cine y la literatura desde herramientas teóricas y enfoques que rompen los estrechos límites comparativos y valorativos de un tema que parecía ya agotado. Si bien la polémica gira en torno a la fidelidad-infidelidad de la adaptación frente al original, este libro ofrece acercamientos que enriquecen el nexo entre la letra y la imagen, y pueden ser de interés para estudiantes, profesores, lectores y espectadores.
Greta Gerwig’s solo directorial debut Lady Bird (2017) hit screens during an extraordinary cultural moment in which stories of the abuse women suffer at the hands of powerful men were receiving unparalleled visibility. The #MeToo movement prompted the entertainment industry to reflect upon issues of diversity, equality, and women’s roles on and off screen. As a woman filmmaker on the press circuit at the time, Gerwig was symbolically recruited and operationalised as part of the #MeToo/Times Up project. This article examines the dominant discourses circulating around women filmmakers in a post #metoo landscape, using Gerwig as a case study. In so doing, it seeks to revaluate feminist theories of authorship during a supposed watershed moment for the industry. It argues that the spectre of the (masculine) auteur not only endures in post #MeToo film culture but has actually been emboldened by the movement to further ghettoise women in the film industry.
This article analyses Joachim Trier’s Thelma () through the concept of trauma, brought on by the title character’s perception of her sexuality as ‘deviant’ and reinforced by her rigidly religious parents’ efforts to tame it by force. Their symbolic enactment of bad parenting manifests itself in a form of Foucauldian biopower on the father’s part and as a Kristevan monstrous-feminine attitude on the mother’s. To heal from trauma, Thelma must free herself from parental control. By focalizing the narrative through Thelma’s mental subjectivity and with religious and supernatural imagery, the film expresses this process symbolically rather than figuratively.
Die „Disziplin“ der feministischen Filmtheorie leistete und leistet einen wesentlichen Beitrag zur Analyse gesellschaftlicher Herrschaftsverhältnisse sowie zur Formulierung kritischer Subjekt- und Geschlechtertheorien in zahlreichen anderen Disziplinen und lässt sich somit als Spiegel der theoretischen Auseinandersetzungen zu Gender und Sexualität auf interdisziplinärer Ebene beschreiben. Maßgebliche Paradigmen feministischer Filmtheorie sind namentlich der „spectatorship“-Ansatz, die feministische Bildkritik („Bild der Frau“), die kritischen Erweiterungen und Einsprüche insbesondere durch Cultural Studies und postcolonial critique sowie Ansätze aus queer theory und kognitiv geprägter Medienwissenschaft (Filmschemata-Ansatz). Der Versuchung einer teleologischen Darstellung feministischer Filmtheorien widerstehend will der Beitrag einen Einblick in nebeneinander existierende Ansätze bieten.
Women Filmmakers in Contemporary Hindi Cinema: Looking Through Their Gaze promises to be a comprehensive anthology with essays on women film directors, producers and screenwriters from the popular Hindi film industry, or Bollywood. The work is grounded in the major theories of modernity, postmodern feminism, semiotics, cultural production and gender performativity in globalized times. While it is aimed at those doing academic and theoretical readings of gender and Hindi cinema, it is also beneficial to those who are interested in contemporary Hindi films. It focuses on women behind the scenes and aims to bridge the gap between scholarship of Hindi film industry and feminist/gender studies as it demonstrates how new voices, combinations of theories, and new shifts in the scholarship of media and cultural studies have calibrated our understanding of contemporary film studies. In its essence the volume celebrates the wide-ranging work of the women filmmakers who have reimagined and reshaped our cinematic landscape.KeywordsWomen filmmakersHindi cinemaGenderMedia and cultural studies
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