Presentation of Female Character Subjectification in Iranian Cinema

2020 ◽  
pp. 248-259
Author(s):  
Dilek Ulusal
Keyword(s):  
Social Practice ◽  
Film Theory ◽  
The Other ◽  
Subject Position ◽  
Female Character ◽  
Female Characters ◽  
Feminist Film Theory ◽  
Femininity And Masculinity ◽  
Feminist Film ◽  
The Subject

Cinema is a social practice where myths about femininity and masculinity are produced, reproduced, and represented. Within this context, in cinema which produces feminine myths and forms female representations by reproducing them, feminist narratives are incontrovertible. In this study, female characters in political woman theme film Ten, directed in 2002 by Abbas Kiarostami who is recognized as one of the most successful directors of Modern Iranian Cinema, are examined in terms of feminist film theory. As a result of the study, it was observed that the director Kiarostami uplifted the identity of women by the narrative of the female characters he placed in the subject position of the film and tried to overthrow the established perception towards the women who were qualified as “the other” in Iranian society, through cinema.

Feminist Discourse in Animated Films

2020 ◽  
pp. 172-187
Author(s):  
Dilek Ulusal
Keyword(s):  
Film Theory ◽  
The Other ◽  
Female Characters ◽  
Popular Film ◽  
Feminist Film Theory ◽  
Feminist Ideology ◽  
Animated Films ◽  
Feminist Discourse ◽  
Feminist Film ◽  
Film Genres

Animation in cinema, which appeals not only to children but also adults, is one of the most important film genres that has existed since the birth of cinema. As in the other genres of cinema, feminist discourse formed through female characters is remarkable in animated cinema. This study aimed to present the feminist narratives in animated films, one of the most popular film genres today. In this context, computer-animated fantasy film Brave, regarded as one of the feminist films in animation cinema, was included in the scope of the study and was investigated in line with feminist film theory. The study revealed, as opposed to the powerless and passive woman image imposed by the patriarchal structure in society, the female characters in this film were represented as strong, brave, and free as designed by feminist ideology.

The Subject of Feminist Film Theory/Practice

Screen ◽  
1980 ◽  
Vol 21 (2) ◽  
pp. 27-34 ◽  
Author(s):  
C. Johnston
Keyword(s):  
Film Theory ◽  
Feminist Film Theory ◽  
Feminist Film ◽  
The Subject

scholarly journals Analysis of Memory, Gender, and Identity in Psychological Thrillers with Specific Reference to Alfred Hitchcock’s Spellbound and James Mangold’s Identity

2020 ◽  
Vol 1 (2) ◽  
pp. 1-14
Author(s):  
Merin Susan John
Keyword(s):  
Thematic Analysis ◽  
Social Issues ◽  
Film Theory ◽  
Specific Reference ◽  
Female Characters ◽  
Feminist Film Theory ◽  
Feminist Film ◽  
The Mind ◽  
Practical Implications ◽  
Identity Issue

Purpose: This paper aims to analyze the portrayal and presentation of memory, gender, and identity in selected psychological thrillers. Approach/Methodology/Design: The selected films are Alfred Hitchcock’s Spellbound and James Mangold’s Identity. For the analysis of these films, the researcher employs both narrative and structural approaches; thematic analysis, psychoanalysis, and also feminist film theory. Findings: The results of the analysis show that apart from building suspense and mysteries with the identity issue, these thrillers question the stereotypes and inequality in society through the female characters for the consumerist audience. Hence, these films attempt to break the chains of legitimated stereotypes in the society which create binaries in the lives of people. Practical Implications: The portrayal of illness in psychological thrillers has attracted a lot more audience to seats. Dissociative elements such as memory and identity of the mind perhaps have permeated the film-going experience. The paper showcases these aspects in the selected films. Originality/value: The picturization of the fading identity and the double personality of the characters are central to the interior experience. The capturing of Amnesia and its related themes of memory, identity, and distributed consciousness are common materials in recent films because they can stretch to basic humanistic concerns and contemporary psycho-social issues.

scholarly journals The female detective as the child who needs to know. Saga Norén as an example of potent yet dysfunctional female detectives in contemporary Nordic Noir

2018 ◽  
Vol 48 (2) ◽  
pp. 213-230 ◽  
Author(s):  
Camilla Schwartz ◽  
E. Ann Kaplan
Keyword(s):  
Queer Studies ◽  
Film Theory ◽  
The Other ◽  
Female Protagonists ◽  
Feminist Film Theory ◽  
Recognition Theory ◽  
Feminist Film ◽  
Female Detective ◽  
The One ◽  
The U.S

Abstract The global popularity of Nordic Noir, such as the Danish/Swedish production Broen, The Danish production Forbrydelsen, its U.S. and U.K. remakes, the Danish/Swedish production The Millennium Trilogy seems to depend on its insistent interest in a set of maladjusted female detectives. The by now seven seasons of the U.S production Homeland have a similar focus. In this essay, we argue that the struggle these female protagonists endure between extreme potency on the one hand and shameful psychic problems on the other is linked to how these female detectives represent the female position in film in general. Turning to traditional and ongoing discussions in feminist film theory, and combining queer studies and sociological and psychoanalytic perspectives with recognition theory (Felski/Coplan), we ask how we as spectators relate to these women in terms of recognition. In line with that, we ask whether these female detectives should be considered feminist icons who challenge traditional gendered poses on film, or whether, due to their dysfunctionalities, they came to represent some kind of otherness that we sympathize with but also fail to identify with.

scholarly journals MELAMPAUI REZIM OPTIC: PANDANGAN YANG MENUBUH DAN EROTISME ALICE EVE DALAM “STARTER FOR 10”

2016 ◽  
Vol 5 (1) ◽  
pp. 45
Author(s):  
Ghanesya Hari Murti
Keyword(s):  
Film Theory ◽  
Object Relation ◽  
The Other ◽  
Feminist Film Theory ◽  
Subject And Object ◽  
Feminist Film

Cinematic capability in the movie "Starter For 10" is to remind that eroticism or intimacy is able to surpass the optical regime or gaze as initiated by Mulvey‟s feminist film theory. Deleuze purposes haptic vision, which later on developed by Marks into Haptic Visuality as cinematic ability to dismantle subject-object relation within Mulvey‟s idea that assumed women body only as pleasure.Eroticism offered in the film is able to perform haptic visuality where the audience has a sense of being touched when the eye is no longer able to accommodate the information and the optical has loss its control. Haptic vision allows both to be object because the sensations move to the other senses. Thus, Alice Eve is not only an object but also invites the audience to be the object as well when the other senses are active. Eroticism presented in the film is no longer busy looking for subject and object but more into a unity where deterministic category is no longer exist.

Feminist Film Theory and Cléo de 5 à 7 by Hilary Neroni

2017 ◽  
Vol 90 (3) ◽  
pp. 241-242
Author(s):  
Mariah Devereux Herbeck
Keyword(s):  
Film Theory ◽  
Feminist Film Theory ◽  
Feminist Film
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