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

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.

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Challenging Misogyny on and off the Pitch: Analysis of Selected Sports Movies

Middle Eastern Journal of Research in Education and Social Sciences ◽

10.47631/mejress.v1i1.10 ◽

2020 ◽

Vol 1 (1) ◽

pp. 45-52

Author(s):

Parvathy B. Parvathy

Keyword(s):

Thematic Analysis ◽

Film Theory ◽

Women Empowerment ◽

Equal Rights ◽

Feminist Film Theory ◽

Feminist Film ◽

Feminist Inquiry ◽

Pitch Analysis ◽

Practical Implications

Purpose: The present study is an attempt to analyze selected sports movies with reference to discrimination and misogyny against sportswomen. The aim is to explore how Indian sportswomen face misogyny and discrimination in sport institutions and society at large. Approach/Methodology/Design: The study is based on thematic analysis to destabilize the notion that sports are the sole realm of men alone. Feminist film theory is also used in the analysis of the movies. Two movies were selected; Chak de! India (2007) and Dil bole Hadippa! (2009). Findings: The results of the analysis indicate that these movies despite having their own drawbacks exhort that society cannot deny women equal rights of participation and opportunity in sports. Both of the movies project their protagonists struggling to achieve success in sports. It is revealed that despite the progress that has been achieved in sports, misogyny is deep-rooted in sport institutions. Practical Implications: The paper throws light on various types of barriers, socio-cultural, biological and psychological, which women players have to cross, in addition to dealing with a bizarre and weird kind of treatment which their male counterparts do not normally confront. It depicts how family pressures and restrictions, cultural inhibitions, lack of support and biased attitude of society can ultimately thwart the ambitions of women players. Originality/value: The paper suggests that sports can be used as an effective tool for women empowerment. As part of the feminist inquiry, the attempt here is to expose the inequalities and discrimination against sportswomen.

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Presentation of Female Character Subjectification in Iranian Cinema

Advances in Media, Entertainment, and the Arts - Gender and Diversity Representation in Mass Media ◽

10.4018/978-1-7998-0128-3.ch014 ◽

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.

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Feminist Discourse in Animated Films

Advances in Media, Entertainment, and the Arts - International Perspectives on Feminism and Sexism in the Film Industry ◽

10.4018/978-1-7998-1774-1.ch012 ◽

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.

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