Female Saviors in Adolescent Film Adaptations

2020 ◽  
pp. 61-86
Author(s):  
Meghann Meeusen
Keyword(s):  
Point Of View ◽  
Film Adaptations ◽  
Female Empowerment ◽  
Male Gaze ◽  
Female Characters ◽  
Male And Female ◽  
Hunger Games ◽  
The Hunger Games

Chapter three identifies a key ideological ramification of polarized binaries, suggesting that a widened divide between concepts of male and female consistently shifts depictions of female characters to position them as the emotional and spiritual saviors of their male counterparts. The chapter draws on Mike Cadden’s analysis of single and double-voiced discourse and Laura Mulvey’s theory of the male gaze to explore Warm Bodies, The 5th Wave, The Hunger Games, Paper Towns, and The Spectacular Now and explains how a greater emphasis on romantic elements in the film leads to constructions of male and female defined as more starkly different. The chapter posits three reasons that polarization of binaries leads to ideologies surrounding the female savior, concluding that shifts in point of view, attempts at female empowerment, and traps of the male gaze and Manic Pixie Dream Girl produce a film that is far more single-voiced than its textual predecessor.

Reading Climate Change in the Palimpsest: The Ecocritical Potential of Novel-to-Film Adaptation

Adaptation ◽  
2020 ◽  
Author(s):  
Nandita Mahajan
Keyword(s):  
Climate Change ◽  
Film Adaptation ◽  
Environmental Crisis ◽  
Film Adaptations ◽  
Text And Image ◽  
Hunger Games ◽  
The Road ◽  
Physical Form ◽  
The Hunger Games ◽  
Gerard Genette

Abstract This essay theorizes the manifestation of the theme of climate change in the reception of novels and their film adaptations. To this end, I draw from and adapt Amitav Ghosh’s conception of textual hybridity: asserting that the era of climate change perhaps requires a movement beyond language to the image, which he believes is better capable of representing physical form, Ghosh prophesies that literature will evolve to incorporate hybrid forms that entwine text and image, such as the graphic novel. Drawing from Gérard Genette, as well as from various adaptation theorists’ descriptions of the doubled perception of an adaptation by audiences acquainted with its source text, I suggest a shift from Ghosh’s idea of hybrid creation to that of hybrid reception. I argue that the reception of a film adaptation of a novel as an adaptation, rather than as a standalone cinematic text, involves a palimpsest-like superimposition of literature and cinema—text and image—in the spectator’s mind, constituting a rich, hybrid experience that can potentially enhance the recipient’s perception of environmental issues in both texts involved. I demonstrate this theory via close readings of Suzanne Collins’s The Hunger Games trilogy and its film adaptations, and Cormac McCarthy’s The Road and its film adaptation, illustrating the various kinds of intertextual relationships that arise out of what I call palimpsestuous reading, and ultimately indicating the value of adaptation in an age of environmental crisis.

“I hunt. He bakes.”: Constructing and Deconstructing Gender Identity in Suzanne Collins’ The Hunger Games Trilogy

2020 ◽  
Vol 10 (1) ◽  
pp. 77
Author(s):  
Rakchuda Thibordee
Keyword(s):  
Gender Identity ◽  
Judith Butler ◽  
Female Characters ◽  
Gender Performativity ◽  
Hunger Games ◽  
Masculinity And Femininity ◽  
Gender Binary ◽  
The Hunger Games ◽  
Female Protagonist ◽  
Katniss Everdeen

This article aims to investigate the construction of the gender identity of the young-adult female protagonist in The Hunger Games trilogy. Through the lens of Judith Butler’s gender performativity, both male and female characters in the trilogy manifest different perspectives of masculinity and femininity through the deconstruction of the gender binary. Similar to the muttation of the mockingjays, the female protagonist hybridizes masculinity and femininity. Katniss Everdeen embraces both masculine and feminine attributes simultaneously, and this adoption promotes an alternative way of performing gender. Gender, hence, becomes a choice for characters to perform to present themselves. In this regard, Judith Butler’s gender performativity is applied to analyze Katniss’s gender identity that deconstructs the ideologies of the traditional gender binary. The adoption of gender performativity may encourage awareness and empowerment of gender equality in the trilogy.

“Reading Faulkner from a Writer’s Point of View”

2016 ◽  
Author(s):  
Kenzaburo Oe
Keyword(s):  
William Faulkner ◽  
Point Of View ◽  
The Other ◽  
Female Characters ◽  
Male And Female ◽  
Narrative Techniques ◽  
The Mansion ◽  
The Hamlet

In this chapter, the author offers a reading of William Faulkner from his point of view of as a writer. He begins by discussing one of Faulkner's unique narrative techniques, “reticence,” and explaining that when he reads Faulkner's novels, he always puts the translations beside the originals, whenever they are available. He claims that he experiences Faulkner through a triangular circuit for the transmission of verbal symbols—Faulkner; the translator, who is a specialist; and himself, a reader of the words of the other two. He also reflects on his response to Faulkner's attitude toward writing novels and to his way of activating the imagination. Finally, he considers Faulkner's way of manipulating his male and female characters by focusing on his novels The Hamlet, The Mansion, The Wild Palms, and Absalom, Absalom!.

scholarly journals MASKULINITAS DAN FEMININITAS DALAM ANIME KIMI NO NA WA KAJIAN RESPON PEMIRSA

KIRYOKU ◽  
2017 ◽  
Vol 1 (4) ◽  
pp. 10
Author(s):  
Fajria Noviana ◽  
Retno Wulandari
Keyword(s):  
Young People ◽  
Point Of View ◽  
English Department ◽  
Young Generation ◽  
Sex And Gender ◽  
Female Characters ◽  
Male And Female ◽  
Masculinity And Femininity ◽  
And Gender ◽  
Response Method

Masculinity and femininity are never-ending subjects. This research aims at observing young generation’s perception on masculinity and femininity in Japanese animee Kimi no Na wa. In addition this research also brings input on how young generation reacts on masculinity and femininity. By using viewer’s response method, this research is conducted among 15 (fifteen) Japanese Department students and 15 (fifteen) Engish Department students of Universitas Diponegoro.The finding shows that young generation generally view that there is no significant differences between sex and gender role. Meanwhile, in the relation with the movie, responden assert their agreement on the description of masculinity and femininity through the male and female characters, although generally respondents from English Department prefer East masculinity and West femininity. This view can be used as the basic how older people build relation with young people due to differences in age and point of view.

Gender Differences in Clothing Worn in Current Popular Comic Books

2015 ◽  
Vol 2 (1) ◽  
Author(s):  
Kyle Landon Jossy
Keyword(s):  
Gender Differences ◽  
Content Analysis ◽  
Comic Books ◽  
Book Industry ◽  
Comic Book ◽  
Lower Body ◽  
Female Characters ◽  
Male And Female ◽  
Males And Females

This study looked at how males and females were portrayed, based on the amount of skin shown in the clothing worn.  A Content analysis was performed on a sample of 20 randomly selected popular comics from the last 3 years.  Both male and female characters were rated on how much skin they showed in three clothing categories; neck line, sleeve length, and lower body.  Results showed that in all 3 categories, women consistently wore more revealing clothing.  The findings demonstraetd that the comic book industry is comparable to other forms of media, in the sexualization of female characters, by having them wear more revealing clothing.

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