scholarly journals Maya and Mia At La La Land

Screenworks ◽  
2019 ◽  
Vol 10 (1) ◽  
Keyword(s):  
Practice Research ◽  
Experimental Film ◽  
Female Characters ◽  
Representation Of Women ◽  
Radical Nature ◽  
Source Materials ◽  
Disparate Source

Jenny Oyallon-Koloski’s Maya and Mia At La La Land, is a videographic film which draws fascinating parallels between Maya Deren’s At Land and Damien Chazelle’s La La Land. By bringing together two such starkly disparate source materials – experimental film vs popular musical – this practice research presents a compelling exploration of what Chazelle identifies as the inherently “radical nature” of the musical. Oyallon-Koloski uses various editing techniques from continuity editing and Soviet montage, to Deren’s own parametric framework, to interweave the films and make abstract narrative connections between their two central female characters. In so doing, she not only critiques the on-screen representation of women, but also draws attention to the stylistic synergies between the two filmmakers.

Schrader’s Women: Cat People and Patty Hearst

2020 ◽  
pp. 122-138
Author(s):  
Brian Brems
Keyword(s):  
Female Character ◽  
Taxi Driver ◽  
Female Characters ◽  
Existential Anxiety ◽  
Representation Of Women ◽  
Male Characters ◽  
Self Actualization ◽  
Spiritual Freedom ◽  
Robert Bresson

Paul Schrader’s connection with director Robert Bresson is often explored through his male characters, the ‘man in his room’ of Light Sleeper and American Gigolo, but Taxi Driver before them and First Reformed most recently. However, Schrader’s two primary experiments with female characters, Cat People (1982) and Patty Hearst (1988), also follow a similar Bressonian trajectory and end with each female character incarcerated, yet finding a kind of spiritual freedom that helps them realize their identities. This chapter explores Schrader’s women primarily through close examination of Cat People’s Irina (Nastassja Kinski) and Natasha Richardson’s eponymous heroine in Patty Hearst, but use his representation of women in the male-driven films for points of comparison and contrast. In addition, this chapter approaches Schrader’s women as reflections of his male characters, many of whom are driven by existential anxiety that motivates them to seek self-actualization in redemptive violence.

Surveilling lesbians: The Birds, Hitchcock’s narrative cinema and the criminalization of sexuality

2020 ◽  
Vol 5 (1) ◽  
pp. 49-68 ◽  
Author(s):  
Brenden O’Donnell
Keyword(s):  
Female Characters ◽  
Rear Window ◽  
Women's Bodies ◽  
Representation Of Women ◽  
Private Lives ◽  
Narrative Cinema ◽  
Surveillance Practice ◽  
The 1960S

This article analyses The Birds in order to distinguish a form of heteropatriarchy characterized by the development of surveillance practices. In the earlier films Vertigo and Rear Window, female characters were represented as intensely desirable, yet also disturbingly unattainable. This article is dissatisfied with the explanation that Hitchcock’s unattainable woman is an example of the 1960s developing lesbian subjectivity. Instead, I use The Birds to prove that Hitchcock’s representation of women has in mind the projects of arranging women for interrogation, eavesdropping on their conversations and intruding upon their intimate moments. Hitchcock’s voyeurism, construable as ambivalent in earlier films, manifests in The Birds as a surveillance practice that assumes access over the private lives of women: a heteropatriarchal strategy that keeps women’s bodies, if not accessible for men, punishable by them. By keeping tabs on the ways that women grow intimate with one another instead of with men, Hitchcock’s cinema moves from narrative to surveillance, blurring the distinction between cinematography and security footage.

The Politics of Gender Representation in Charles Bukowski’s Poetry: Between Ambivalence and Misogyny

2021 ◽  
Vol 1 (1) ◽  
pp. 33-44
Author(s):  
Chaymae Achami
Keyword(s):  
Textual Analysis ◽  
Gender Politics ◽  
Gender Representation ◽  
Close Reading ◽  
Female Characters ◽  
Literary Works ◽  
Representation Of Women ◽  
Realistic Approach ◽  
Positive Representations ◽  
Representations Of Women

The German poet and novelist Charles Bukowski has always been surrounded with controversy throughout his life. However, interestingly, it is his politics of gender representation that mostly triggers feminists and researchers together to condemn him for being misogynist, showcasing a degrading image of female characters in his prose writings. The latter genre is seemingly insufficient to directly accuse Bukowski and his literary works of misogyny. While some of his novels attest to a demeaning yet controversial representation of women, his poetry offers a nuanced version wherein heterogeneous portrayal of women becomes prevalent and therefore allowing the space for readers to encounter poems with an amalgamation of positive representations of women—being independent and intellectual. Because the misogynistic representation in Bukowski’s works is open to various interpretations, rushing into a compilation of hateful judgments concerning the author himself lacks justification and argument. In line with this background, the present paper discusses the limitations of the conclusions drawn with regard to Bukowski’s gender politics, arguing that there is a space in-between worth exploring in his literary works. Through a close reading method of textual analysis, the paper concentrates on selected poems from Bukowski’s collection Love is a Dog from Hell (1977) in order to contrast the positive and negative depiction of women. The paper, in other words, strives to bring into question the extent to which misogyny and ambivalence take roles in Bukowski’s gender representation of the female characters. The analysis undertaken has revealed significant results, in which Bukowski’s poetry comes to expose a more ambivalent and realistic approach towards gender—a reading which is highly needed in order to consider the different perspectives and possible interpretations of an author’s work before limiting it, or the author in person, to a set of stereotypical judgment.

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 Representation of Women and Nature in Abhi Subedi’s Māyādevikā Sapanā

2021 ◽  
Vol 34 (01) ◽  
pp. 35-46
Author(s):  
Indira Acharya Mishra
Keyword(s):  
Gender Roles ◽  
Violence Against Women ◽  
Western Philosophy ◽  
Modern World ◽  
Female Characters ◽  
Wild Female ◽  
Representation Of Women ◽  
Root Cause ◽  
Modern Capitalism

The article aims to analyze the depiction of women and nature in Abhi Subedi’s play, Māyādevikā Sapanā [Dreams of Mayadevi] (2008) from the ecofeminist perspective. The play associates women to nature and suggests that there is similarity between the domination of women and exploitation of nature by men in patriarchy. The female characters of the play criticize the patriarchal gender roles based on hierarchy and dualism. They identify patriarchy as the root cause of violence against women and nature. Ecofeminist critics point out that there are conceptual, symbolic, and linguistic connections between feminist and ecological issues. Vandana Shiva and Maria Mies assert that it is the same patriarchal mindset that dominates women exploits the nature. Carolyn Merchant posits that modern capitalism treats nature as a wild female who needs to be tamed and controlled. Val Plumwood argues that western philosophy, which prioritizes reason to emotion, is the key to oppression of women and nature in the modern world. These critics suggest that feminism should also deal with the issues of nature because the destruction of nature harms women more than it harms men. Thus, ecofeminist perspective is relevant to analyze the depiction of women and nature in Māyādevikā Sapanā. The finding of the article reveals that patriarchy is unfriendly to women and nature; and issues of women and ecology are intertwined.

Girl Talk: The Postmodern Female Voice in Chick Flicks

2016 ◽  
Author(s):  
Heidi Wilkins
Keyword(s):  
Female Voice ◽  
Male Character ◽  
Female Characters ◽  
Representation Of Women ◽  
Screwball Comedy ◽  
Chick Flicks

In this final chapter, I revisit my discussion of the female voice in mainstream cinema to explore the aural representation of women in contemporary chick flicks. In examining this category of films, it is clear they have some evolutionary links with the screwball comedy genre discussed in Chapter 1. This is evident in the female characters we encounter in modern chick flicks who, like their screwball predecessors, are often strong, confident and quick-witted, engaging in verbal battles to achieve their ‘happily ever after’ either with their lead male character or with fellow female characters, or sometimes with both.

scholarly journals Vrouwenbeelden en genderrepresentatie in een leergangen Nederlands voor anderstaligen

2018 ◽  
Vol 27 ◽  
pp. 77-88
Author(s):  
Elissaveta Manolova Maciel
Keyword(s):  
Foreign Language ◽  
Gender Stereotypes ◽  
Female Characters ◽  
Representation Of Women ◽  
Male Characters

Vrouwenbeelden en genderrepresentatiein een leergang Nederlands voor anderstaligen This article focuses on the representation of women and images of females as an articulation of diversity in textbooks of Dutch as a foreign language, Code Plus 1 and Code Plus 2. The central re­search questions are: How are female characters, next to male characters, represented in the selected textbooks? Do the textbooks present gender stereotypes or do they rather question them?

scholarly journals Women's Participation in the Presidential Elections in Russia: Value Aspects of Mass Media Discourse

2018 ◽  
pp. 277-280
Keyword(s):  
Media Coverage ◽  
Presidential Elections ◽  
Women Politicians ◽  
Moral Authority ◽  
Media Discourse ◽  
Election Campaigns ◽  
Female Characters ◽  
Women Candidates ◽  
Representation Of Women ◽  
Women's Participation

The paper presents the results of the analysis of media coverage concerning the election campaigns for the presidential elections in Russia in 2012 and 2018. The emphasis is made on analyzing the representation of women candidates for top positions. The research is based on discourse analysis which revealed the holistic image of politicians, including explicit and hidden meanings. The analysis showed that the images of women politicians are devoid of a gender component. They are either commonplace, or include purely masculine features and actions. The paper explains that this representation of female characters in the electoral process corresponds to the essence of the modern sensual culture based on the domination of power, success and individualism significance, and moral atomism. The paper notes that a demand for moral values and moral authority of politicians has matured in the society. The results of the all-Russian sociological survey are given, according to which respondents expressed distrust and rejection of women candidates in the 2018 elections, because they did not possess the qualities necessary for the president. These trends can be described as a manifestation of the crisis of modern sensory culture and the forerunner of spiritual culture.

scholarly journals Праблема рэпрэзентацыі жанчыны ў мужчынскай прозе ў асэнсаванні беларускіх даследчыкаў 1960–1980-х гг.

2020 ◽  
pp. 95-109
Author(s):  
Аляксандра Чарнавокая
Keyword(s):  
Literary Criticism ◽  
Personal Experience ◽  
Female Characters ◽  
Central Importance ◽  
Female Images ◽  
Representation Of Women ◽  
The Creation ◽  
The Difference ◽  
The 1960S

The works of A. Matrunenak, A. Adamovich, A. Yaskevich and other resear¬chers who addressed the problem of representation of women in men's prose are examined in the article. For Belarusian literary criticism of the 1960s – 1980s period, this problem was not of central importance but was raised in the analysis of the works written by J. Kolas, M. Zaretsky, K. Chorny and I. Shemyakin. The authors' personal experience, as well as the realism and psychological accuracy of the characters were immensely important for the researchers. The difference in gender experience was one of the reasons for creative failures in the development of female images. The article outlines different approaches to the creation of female characters.

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