scholarly journals Los personajes femeninos bajo la mirada del cineasta Benito Zambrano. Retrato de la mujer en Solas, Habana Blues y La voz dormida

2013 ◽  
Author(s):  
Belén Puebla Martínez ◽  
Zoila Díaz-Maroto Fernández-Checa ◽  
Elena Carrillo Pascual
Keyword(s):  
Female Characters ◽  
Female Representation ◽  
Representation Of Women ◽  
The World ◽  
Female Image ◽  
Classical Models ◽  
Collective Imagination

El cine, entendido como productor de imágenes y significados concretos se convierte en un medio esencial para comprender el mundo que nos rodea. Es decir, el cine debe entenderse como un espejo que reelabora la propia realidad de la que se nutre, creando nuevas representaciones que pasarán a formar parte de nuestro imaginario. En este sentido, este trabajo tiene como objetivo analizar la representación de la mujer en el cine del director español Benito Zambrano. Para ello, no sólo nos hemos centrado en observar los estereotipos que representan los personajes femeninos, sino que hemos analizado la existencia de representación femenina en cada uno de los film a través del test de Bedchel. De esta forma, hemos podido ver como en sus tres películas (Solas, Habana Blues y La voz dormida) el cineasta muestra a mujeres que adquieren un mayor protagonismo en cada una de las historias a través de personajes de gran complejidad. Zambrano ha intercalado roles clásicos –madre, hija, esposa– con estereotipos que nada tienen que ver con los que veíamos en el cine patriarcal. Como resultado, nos encontramos con personajes mucho más independientes, fuertes y maduros que se alejan, en cierto modo, del clasicismo de la imagen femenina que pudiera estar integrado dentro del imaginario colectivo.   Abstract: Cinema, understood as the generator of images and meanings, becomes an essential way of understanding the world around us. Moreover, cinema should be seen as a mirror that reworks the reality from which it draws its inspiration, creating new representations that will become part of our imagination. In this sense, the aim of this article is to analyze the representation of women in the films of Spanish director Benito Zambrano. For this purpose, we have focused not only on observing stereotypes portraying female characters, but we have also discussed the existence of female representation in each of them through the Badchel test. Consequently, we see that in his three films (Solas, Habana Blues and La voz dormida) the filmmaker shows women taking on more important roles in each of the stories through the complexity of their characters. To achieve this, Zambrano has interspersed classical models -mother, daughter, wife- with stereotypes that have no relationship with what is seen in patriarchal movies. As a result, we find characters who are much more independent, stronger and more mature. In a certain manner, they distance themselves from the classicism of the female image that one would normally find integrated within our collective imagination

scholarly journals Women geographers and the International Geographical Union

2019 ◽  
Author(s):  
Joos Droogleever Fortuijn
Keyword(s):  
Social Sciences ◽  
Female Representation ◽  
Representation Of Women ◽  
Geographical Union ◽  
International Geographical ◽  
International Geographical Union ◽  
Participation Of Women ◽  
The World ◽  
Underrepresentation Of Women ◽  
Different Parts

This article reports the under representation of women in the discipline of geography in the world and focuses on the position of women in the global geography community of the International Geographical Union IGU. First, it gives an overview of the underrepresentation of women in geography in different parts of the world, demonstrating that women are particularly underrepresented in positions of power and prestige. Second, it summarizes factors that explain the underrepresentation of women in geography. Finally, it analyzes the position of women in the governance of the IGU. It concludes that women geographers are still underrepresented in the IGU in the same way as in geography departments all over the world. The participation of women in the governance of the IGU reflects the gendered nature of subdisciplines in geography as an integrative natural sciences-social sciences-humanities discipline, with a higher share of female representation in human geography than in physical and technical subdisciplines. Female representation is more often from high-income countries in Europe, North-America and Oceania and from Latin-America than from Asia and Africa. 

Female Representation in Colombia

2018 ◽  
Author(s):  
Mónica Pachón ◽  
Santiago E. Lacouture
Keyword(s):  
Twentieth Century ◽  
Political Context ◽  
The Political ◽  
Political Rights ◽  
Female Representation ◽  
Political Arena ◽  
Substantive Representation ◽  
Representation Of Women ◽  
Electoral Democracy ◽  
Almost All

Mónica Pachón and Santiago E. Lacouture examine the case of Colombia and show that women’s representation has been low and remains low in most arenas of representation and across national and subnational levels of government. The authors identify institutions and the highly personalized Colombian political context as the primary reasons for this. Despite the fact that Colombia was an electoral democracy through almost all of the twentieth century, it was one of the last countries in the region to grant women political rights. Still, even given women’s small numbers, they do bring women’s issues to the political arena. Pachón and Lacoutre show that women are more likely to sponsor bills on women-focused topics, which may ultimately lead to greater substantive representation of women in Colombia.

Europa 51: The Face of the Star in Neorealisms Urban Landscape

Film Studies ◽  
2004 ◽  
Vol 5 (1) ◽  
pp. 39-57
Author(s):  
Ora Gelley
Keyword(s):  
Sexual Difference ◽  
Urban Landscape ◽  
Social World ◽  
Female Characters ◽  
The Social ◽  
The World ◽  
Roberto Rossellini ◽  
The Face ◽  
Classical Style

Although Europa 51 (1952) was the most commercially successful of the films Roberto Rossellini made with the Hollywood star, Ingrid Bergman, the reception by the Italian press was largely negative. Many critics focussed on what they saw to be the ‘unreal’ or abstract quality of the films portrayal of the postwar urban milieu and on the Bergman character‘s isolation from the social world. This article looks at how certain structures of seeing that are associated in the classical style with the woman as star or spectacle - e.g., the repetitious return to her fixed image, the resistance to pulling back from the figure of the woman in order to situate her within a determinate location and set of relationships between characters and objects - are no longer restricted to her image but in fact bleed into or “contaminate” the depiction of the world she inhabits. In other words, whereas the compulsive return to the fixed image of the woman tends to be contained or neutralised by the narrative economy and editing patterns (ordered by sexual difference) of the classical style, in Rossellini‘s work this ‘insistent’ even aberrant framing in relation to the woman becomes a part of the (female) characters and the cameras vision of the ‘pathology’ of the urban landscape in the aftermath of the war.

‘Look at Me’, I’m femininity: The female persona in 1970s musical theatre

2020 ◽  
Vol 14 (3) ◽  
pp. 321-330 ◽  
Author(s):  
Samantha Lampe
Keyword(s):  
Musical Theatre ◽  
Women's Liberation ◽  
Simone De Beauvoir ◽  
Female Representation ◽  
Public And Private ◽  
Women's Liberation Movement ◽  
Betty Friedan ◽  
Liberation Movement ◽  
Women’S Liberation ◽  
Female Image

As the Women’s Liberation Movement developed in the 1970s, women challenged society’s limited female representation as either the Madonna or the whore. Musicals in the 1970s, including Grease (1972), Chicago (1975) and Evita (1979), complicated the female image through the juxtaposition of feminine stereotypes in the heroine’s persona. With each of the shows centralizing the plot around analysing the contradictory feminine image, the women perform in both public and private settings, along with other characters critiquing their personas. From feminist protesters to the writings of Simone de Beauvoir and Betty Friedan, Sandy, Roxie and Eva reflect the requests of contemporary women to display their gender as something beyond the perceived dichotomy of Madonna or whore in their music performances.

scholarly journals The female characters in Branislav Nušić's and Stefan Kostov's selected comedies

Bastina ◽  
2020 ◽  
pp. 95-109
Author(s):  
Đurđina Isić
Keyword(s):  
Small Town ◽  
Point Of View ◽  
Theoretical Point ◽  
Female Characters ◽  
Modern Age ◽  
The Social ◽  
The World ◽  
The Subject ◽  
Bereaved Family

The paper presents the results of research that included comparative study of the place and role of female characters in selected and representative comedies by Serbian comedigrapher Branislav Nušić (eng. MP, Suspicious person, Mrs Minister, Bereaved family, Dr, Deceased; srb. Narodni poslanik, Sumnjivo lice, Ožalošćena porodica, Dr, Pokojnik, Vlast) and Bulgarian comedigrapher Stefan Kostov (eng. Gold mine, Golemanov, Grasshoppers, Nameless comedy; blg. Zlamnama mina, Golemanov, Skakalci, Komediâ bez ime) in order to find similarities and differences in the process of comedigraphic shaping of female characters in the work of these two authors. The subject of the research was viewed primarily from a literary-theoretical point of view, and the dominant methods of study were comparative and analytical-synthetic. During the research, there was a differentiation of female characters in accordance with their motivational structures, psychological assemblies and the nature of the place and the role they play in the social environment in which they are located. Therefore, we can distinguish female characters who live in the province and who are fully representative of the small-town spirit, female characters who live in the capital and are a symbol of the modern age and female characters who dwell in the capital, but in fact, deeply down still carry a small-town view of the world. The structure of this paper is in line with this distinction. Conclusions made at the end of the study show that the representation of female characters in analyzed comedies of both comedigaphers is highly similar in its nature.

scholarly journals Female Representation in Select Films of Frank Rajah Arase: Evidence of Male Chauvinist Tendencies in the Ghanaian Film Culture

2021 ◽  
Vol 9 (1) ◽  
pp. 14-41
Author(s):  
Osakue S. Omoera ◽  
Charles C. Okwuowulu
Keyword(s):  
Paradigm Shift ◽  
African Continent ◽  
Film Culture ◽  
African Culture ◽  
Female Representation ◽  
Feminine Gender ◽  
Representation Of Women ◽  
Observation Methods ◽  
The Feminine ◽  
Video Films

There has been constant resonance of feminine image misrepresentation in most narratives since the (re)invention of video-films in Nigeria, Ghana, and indeed across the African continent. In spite of the binary struggle between the (presumed) chauvinist filmmakers and their feminist counterparts, masculinity always (re)emerges in new forms or topoi to dominate femininity. Consequently, there seems to be a paradigm shift on the (mis)representation of women that reinforces Laura Mulvey’s sexual voyeuristic objectification of the feminine gender as reflected in near-nude costumes as well as sexually larded scenes that are common sights in African films, particularly those from Ghana. Employing the historical-analytic and observation methods, this article examines three selected films:  The Maid I Hired (2010), Why Did I Get Married? (2007) and To Love a Prince (2014) by Frank Rajah Arase (FRA), an African filmmaker of Benin (Edo) extraction who largely operates in the Diaspora, to foreground and highlight the voyeuristic imprints in Ghanaian films (Ghallywood), which tend to demean the feminine gender in the context of African culture that hegemonizes the male folk.

scholarly journals CELIE: A PORTRAYAL OF AN AFRO-AMERICAN WOMAN'S REJECTION OF TRADITIONAL VALUES

2017 ◽  
Vol 2 (2) ◽  
pp. 129
Author(s):  
Ekawati Marhaenny Dukut ◽  
Nuki Dhamayanti
Keyword(s):  
Women Characters ◽  
Alice Walker ◽  
The Novel ◽  
Main Character ◽  
Traditional Values ◽  
Female Characters ◽  
American Women ◽  
The Color Purple ◽  
The World ◽  
Color Purple

The world of literature can be a medium of expressing the writer's expressions and ideas. Universal topics such as, love, death, and war often become subject mailers in the world of literature. In the novel, of The Color Purple. Alice Walker describes the oppression experienced by Afro American women in the female characters of Celie, Nellie, Shug Avery, Sofia, and Mary Agnes who faced sexual discrimina!ions in a patriarchal society. Womanhood, education, and lesbianism are factors that help the Afro American women to free themselves from traditional values. The Color Purple puts into words the process of its main character, Celie, who tries to reject and escape from the male domination of her world. The other Afro American women characters that help Celie to find her selfidentity represent the manifestation of the rejection of the traditional values. This article. which uses the socio-historical alld feminism approach. is intended to analyse the Afro-American women's rejection of traditional values by focusing on the major character of' Walker's The Color Purple. Celie. as she develops from being a victim of traditional values to the rejoiceful discovery of her selfidentity.

Deconstructing the Other’s Other: Analyzing the Chinese Female Image in the Film Saving Face

Film Matters ◽  
2021 ◽  
Vol 12 (1) ◽  
pp. 93-100
Author(s):  
Chuyi Zhang
Keyword(s):  
Chinese Women ◽  
Postcolonial Studies ◽  
The Other ◽  
American Film ◽  
Female Characters ◽  
Global Order ◽  
The Past ◽  
Female Image ◽  
Saving Face ◽  
International Status

The image of Chinese women portrayed in American films is essentially the West’s imagination of China, conveyed by the female body and constructed in the Orientalist discourse. Over the past one hundred years, Chinese women have been primarily depicted as docile, weak, submissive, voiceless, and in need of being rescued and guided by Occidentals. With the evolution of the global order and the rise of China’s international status, the silent Orient has taken the initiative to resist and reshape this voiceless, “other-ed” image. This article aims to focus on the female characters in Saving Face, an American film directed by Chinese American director Alice Wu in 2004, and analyzes how the director reverses the stereotyped Chinese female image based on the theoretical framework of Orientalism and postcolonial studies, not only “the other” with regards to men, but also “the other” as to the Occident, thus dismantling long-held misreadings of China.

Gender Diversity in the Senior Management of Large Technology Companies

2022 ◽  
pp. 1945-1962
Author(s):  
Yakira Fernández-Torres ◽  
Ricardo Javier Palomo-Zurdo ◽  
Milagros Gutiérrez-Fernández
Keyword(s):  
Corporate Governance ◽  
Boards Of Directors ◽  
Business Performance ◽  
Industrial Revolution ◽  
Gender Diversity ◽  
Female Representation ◽  
Distinctive Features ◽  
Representation Of Women ◽  
The Relationship

As a key part of the fourth industrial revolution, technology companies have become the most valuable companies in the world in terms of market capitalization. Surprisingly, however, these companies have been overlooked by studies of gender diversity in corporate governance even though their highly distinctive features may cause major differences in gender diversity with respect to companies in other sectors. The goal of this chapter is therefore to provide the first characterization of gender diversity in the corporate governance of large technology companies—specifically those with the highest market value—and explore the relationship between gender diversity and business performance. To achieve this goal, descriptive statistical analysis is used. Data correspond to the period 2005 to 2017. The findings confirm the under-representation of women on the boards of directors of 162 publicly listed companies. The findings also show that the most profitable companies are those that have the greatest female representation on their boards of directors.

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