A Study on the Aesthetic Properties of Feminism Make-up in Cindy Sherman's Instagram Selfie

Feminism sheds light on women's identities in a variety of ways, along with criticism of gender discrimination and male-centered thinking. In particular, Cindy Sherman's selfie, known as a feminist photographer, expresses various women's images, showing a new identity of women. This study examined feminism makeup that expresses women's self-identification in the recent emergence of Me Too and feminism, and analyzed feminism makeup in Cindy Sherman's self-portrait to find out its aesthetic characteristics. First, the nature of Cindy Sherman's feminism makeup was expressed as dominant masculinity. Through various typical forms of beard, he strongly emphasized masculinity, and his eyebrows were thick and dark, and his facial contour was manly. The beard is a symbol of masculinity and a facial expression of social status and character, so Cindy Sherman actively expresses herself as a feminine figure with feminism makeup. Second, Cindy Sherman's characteristics of feminism makeup expressed the characteristics of benignity, which are caused by the confusion of femininity and masculinity. It emphasizes a positive image to exaggerate the image of a man with feminine features and a manly hairstyle and long, voluminous eyelashes. This positive image can also be seen in postmodernism Androgenus look or Genderless look, and is also the best characteristic of feminism makeup. Third, Cindy Sherman's feminism makeup characteristics had the characteristics of typistic femininity. She expresses her female identity through the image of a powerless and shabby woman by turning herself from a young movie star to an old woman. Fourth, Cindy Sherman's feminism makeup characteristics express the characteristics of detachment with ugly beauty. Such makeup is unstable in shape, and there are many distorted or modified images, but Cindy Sherman's selfies also showed this ugly look of herself. Fifth, Cindy Sherman's feminism makeup is bizarre and gives grotesque horror in the form of witches or vampires. Witches and vampires, who lack femininity, expressed feminism not in the image of women obedient to patriarchal men, but rather in horror. Sixth, Cindy Sherman's characteristic of feminism makeup is to portray herself as a clown or a clown, or a clown, to represent a caricature. Sherman's clown series is already well known for its makeup that shows feminism in women. The clown always smiles in the costume, but the inner figure symbolizes the repressed and sad woman herself and is an expression of Sherman's own image.

Luxury Fashion Brands and Consumers: Women are more sexualized by consumers than brands on Instagram

This study examines how luxury fashion brands and luxury fashion brand hashtags that consumers use in their posts portray women on Instagram. The study was framed by sexual objectification theory (physical presentation, body display, sexually suggestive poses, and feminine touch) and sexism stereotypes (women in traditional roles such as dependent, caretaker, decorative and sexual object). This study examines 700 Instagram posts, 350 from top luxury fashion brands, and 350 from consumers. Young and skinny women’s images dominate Instagram posts created by luxury fashion brands, while consumers are older and fit. Unexpected results show that luxury fashion brands feature women less sexually desirable, with less sexually suggestive poses and fewer sexist stereotypes than consumers.

Sisters Who Make Waves and Contemporary Female Identity

The online variety show Sisters Who Make Waves has rapidly become highly popular and is one of many online shows dominated by young idols creating a group portrait of many successful sister identities. Various film and television dramas such as Nothing But Thirty and To Dear Myself have also depicted middle-aged and adult women. From the feminist perspective, mature and independent female images are a new feature of these online film and television shows. We found that women who participate in literary and creative activities are increasingly speaking in their own voices, that the sisters’ independent images have important cultural symbolic significance, and that these new images form an imagined community among the audience. However, we must be vigilant about the impact of new media’s commercialization on new women’s images.

Female Images and Voices in Kanakana Yvonne Ladzani’s Selected Poetry

This paper reflects on Kanakana Yvonne Ladzani’s use of poetry to vanguard women’s images and voices. The paper further considers how, apart from articulating the significance of her role as a poet, Ladzani also comments authoritatively on how women are perceived in society. The paper employed the qualitative approach and purposively selected five poems from Ladzani’s three poetry anthologies. Undergirded by the theory of feminism, the analysis appreciated Ladzani’s literary vision of women empowerment. In the analysis of the selected poems, it was argued that Ladzani prefers positive female portraitures over negative ones. It was also argued that Ladzani aims to prod women to move from the margins to the centre of gender discourse through her poetry. In its conclusion, the paper appreciated Ladzani’s poetry as an essential mode of agency through which the Vhavenḓa women may make their voices heard in the contemporary space.

Doing women’s film & television history

The scholarship collected in this issue of Alphaville represents a selection of the research that was to be presented at the 2020 Doing Women’s Film & Television History conference, which was one of the many events cancelled as a result of the Covid-19 pandemic. The pandemic itself greatly impeded academic life and our capacity to carry out and share research among colleagues, students and the public. Covid-19 was even more problematic for women, who shouldered a disproportionate care burden throughout the pandemic. Therefore, we are particularly delighted to be able to present an issue that addresses a number of topics and themes related to the study of women in film and television, including, but not limited to, the production and use of archival collections for the study of women’s film and television histories; the foregrounding of women in Irish film and television histories; women’s productions and representation in films of the Middle East; representations of sex and sexuality in television drama; and women’s work and labour in film and television. The breadth of the themes covered here is indicative of the many ways in which scholars seek to produce, describe and uncover the histories and practices of women in these media. They suggest opportunities for drawing attention to women’s work, whether that is labouring in the film and television industries or the work that women’s images are put to do on screen. Collectively, the articles contained in this issue point to a multitude of opportunities for doing and producing women’s film and television histories, either as they occurred in the past or as they materialise in the present. They offer correctives to absences and marginalisation in production histories, in archiving or preservation, and in representation.

Women's Images in Turkish Cinema in the Context of Orientalism

Orientalism, which we can define as how the West recognizes the East, can be determined in many different fields such as literature, music, and architectural painting since ancient times. In orientalist ideology, the negative traits of the other are always emphasized. Because, as Said also emphasizes, the West can only create its own self by alienating and negating the East. The representation styles of marginalized societies; identities and genders are negative in parallel with the Western understanding in the movies that are dominated by the orientalist ideology. The Eastern woman, who is currently the absolute other in terms of gender, is marginalized once again in the examples of Orientalist cinema. This study, based on the movie Tight Dress, aims to observe the hegemonic structure of the willingness to represent women in the patriarchal order of the Eastern Muslim-Turkish representation of women produced within the Western masculine fantasy discourse within the framework of feminist theory and to reveal the orientalist elements in the film through semiotic analysis.

Ancient Javanese Women during the Majapahit period (14th – 15th centuries CE): An Iconographic Study based on the Temple Reliefs | Perempuan Jawa Kuno periode Majapahit (Abad ke-14 – 15 Masehi): Suatu tinjauan Ikonografi terhadap Relief Candi

The idea of Javanese women's images in the past is more known through literature. Some stories mention them in beautiful poetic words and could be imagined divergently by different people. At the same time, the images of Javanese women could be seen from the temple reliefs. It may be more concrete as its material. The Majapahit period that lasts from 14th to 15th centuries provides quite complete data such as artifactual and textual resources that sufficiently support to reveal the depiction of ancient Javanese women at that time. The Majapahit temples have lots of reliefs that portray the women in the daily lives. These data are useful in an attempt to interpret the depiction of the women images in the Majapahit period. This study using iconographic analysis such as observation, description, and classification. The analysis results are compared to the terracotta figurines and sculptures from the same period. Last, the results are compared to the ancient literature from the same period as well. The final results show a regular pattern which is concluded as the characteristics of the Majapahit women. Not only the images themselves, but the meaning behind them also show that the women in the Majapahit era are more present than before and the way to visualize them is more reliable. Gagasan mengenai penggambaran perempuan Jawa kuno lebih banyak diketahui melalui karya sastra yang berasal dari masa lampau. Beberapa kisah menceritakan mengenai figur mereka melalui narasi yang puitis dan dapat dipahami secara berbeda oleh setiap orang. Bersamaan dengan itu, penggambaran perempuan Jawa kuno juga dapat dilihat pada relief-relief candi. Figurnya nampak lebih konkrit karena digambarkan pada objek material. Periode Majapahit yang berlangsung pada abad ke-14 hingga 15 Masehi menyediakan data yang cukup lengkap meliputi artefak dan sumber tertulis yang dapat digunakan untuk mengungkap penggambaran perempuan di masa Jawa kuno. Candi-candi yang dibangun pada periode Majapahit memiliki sejumlah relief yang menggambarkan perempuan di dalam kehidupan sehari-hari. Data dibandingkan dengan sumber tertulis sezaman. Hasil penelitian memperlihatkan pola yang teratur dan berulang di dalam penggambaran perempuan pada relief candi. Tidak hanya dari segi visualnya saja, namun makna di baliknya juga menunjukkan bahwa perempuan pada periode Majapahit lebih nampak dibandingkan periode sebelumnya, dan cara menggambarkannya lebih bisa diandalkan.

Doctor Zhivago by Boris Pasternak and the Knight of Faith by Kierkegaard: Common Ground

The article deals with the intertextual relationships of the novel «Doctor Zhivago» by B. Pasternak and the treatise «Fear and Trembling» by Søren-Kierkegaard. Pasternak mentioned Kierkegaard in his works and noted his great influence on modern culture. While Pasternak was working on the novel, he used the concept of chivalry, which was an allusion to Kierkegaard. In his treatise «the Knight of Faith» is a moral model that has overcome the fetters of rational thought and broken out of the temporary boundaries. S. Kierkegaard gives his description, which is directly related to the themes and motives associated with the image of Yuri Zhivago. Both Kierkegaard and Pasternak emphasize that the heroes of the high spirit merge with the human community, they cannot be distinguished from the general population with their private existences; the authors carefully contemplate the world around them, trying to penetrate into the very essence of each phenomenon, they differ in external carelessness with the utmost tension of the inner spiritual life. In their self-denial they renounce the most beloved, precious, valuable. Their love takes the form of religious veneration, and the beloved combines the temporal and the eternal, the earthly and the divine. They transfer the pain of double existence and the pain of loss into the realm of the spiritual, the creative, and the realm of memory. In the treatment of women's images in «Doctor Zhivago» Pasternak is equally focused on both Kierkegaard and Dostoevsky, between whom, in turn, there are many similarities. The common ground between the two texts proves the presence of purposeful inter-system interaction.

Inversion of image of Raphael's sublime women

The main idea of research is proof of productivity applications for interdisciplinary research on fine art material. Synthesis of comparative analysis, evolutionary analysis, psychological analysis, theological and anthropological reconstruction personification helps predict nonstandard conclusions concerning allegations of territorial integrity also referred to as omnisexuality image Madonnas by Raphael. Work belies the established views and controversial version ofthe art of the past on the canonicity of iconographic images of Raphael and nominated as exemplars of transcendental creativity at the transition to the Renaissance and during his heyday names Da Messina and Botticelli. Examines the reception of anthropological analogy as a phenomenon. The hypothesis is proved the simultaneous evolution of technology of a portrait of Raphael and inversion of the iconography of women's images in his works.