Gender and Cinema Research Papers (original) (raw)

2025, NECS Conference

We're on a road to nowhere». Defiance and Desire to wander in Avere vent'anni (To Be Twenty, F. Di Leo, 1978) In light of the recent rediscovery and growing appreciation of Fernando Di Leo's body of work, this paper focuses specifically on Avere vent'anni (To Be Twenty, 1978). While not exhaustive, the analysis highlights key narrative elements connecting themes of wandering to female freedom and desire. By tracing the troubled history of the film's distribution, this paper argues that To Be Twenty was a film that, at the time of its release, was largely misunderstood and underappreciated by both the public and critics. However, viewed retrospectively, it can be interpreted as a poignant metaphor for the end of an era-both within cinema and in terms of cultural and social shifts. This was a period when nomadism was increasingly seen as an alternative to the conventional constraints of family life and as a means of expressing individual freedom.

2025, Revista de Estudios Internacionales Mediterráneos

Esta reseña explora el libro Cine y género en el Mundo Árabe de la investigadora y profesora de la Universidad de Buenos Aires, Carolina Bracco. La obra, fruto de su investigación en El Cairo desde 2007 a 2011, analiza las representaciones de diversas feminidades, masculinidades a lo largo de la historia cinematográfica árabe, con especial atención a Egipto, epicentro de su espectáculo y séptimo arte. Su autora nos propone un estudio de la historia del siglo XX y XXI a través del cine como dispositivo productor y reproductor de imágenes, representaciones e ideologías; y por lo tanto, “un terreno inmejorable para investigar cómo se construyen las subjetividades de género, las representaciones socialmente dominantes y los imaginarios en torno a las nociones de feminidad y masculinidad” (p. 31).

2025

Erkeklik, akademik disiplinde ve sosyal bilimlerin birçok dalında konu edilmiş bir alana işaret eder. Toplumsal cinsiyet alanında genellikle kadınların sosyal durumlarını ve onların erkekler tarafından nasıl ezildiklerini analiz eden çalışmalar yapılmaktadır. Erkek kimliğinin karakteristik özellikleri ve bunun din ile ilişkisinin neler olduğuna dair tartışmaların bakir bir literatüre karşılık geldiği ifade edilebilir. Bu araştırmada hegemonik erkeklik, eril tahakküm ve iktidar teorileri çerçevesinde imamlardaki erkeklik algıları ve bunun din ile kurmuş olduğu ilişkisel bağ incelenmektedir.

2025, Discourse Analysis of the Relationship between Women and Space in the Context of Masculine Domination and Micro Power in Raise the Red Lantern Film

The concepts of women and space have an important place in gender studies. These concepts are discussed in the context of feminist geography and gender theories, focusing on understanding how women's social roles are associated with physical and social space. Space is seen as an element that shapes women's lives and reinforces gender roles. In this study, Zhang Yimou’s Raise the Red Lantern (1991) is analyzed within the framework of the concepts of masculine domination, hegemonic masculinity, micropower and foregrounded femininity, based on the relationship between women and space. A discourse analysis method is used in the study. The film shows how women are positioned spatially and how masculine domination and micro-power are reinforced through these spaces. In the study, the discourses that determine gender roles through the design of the space, dialogues and subordinate-superior relations in the mansion are examined. In this context, it aims to raise awareness on gender equality and encourage critical thinking. The analysis of women's experiences in the film contributes to the understanding of the patriarchal order and how this order is reproduced through cinema. Thus, the aim is to provide viewers and researchers with a deeper understanding of the representation of gender norms in cinema and to increase sensitivity towards gender justice.

2025, Imagofagia

Reseña escrita por Alberto Benjamín López Oliva (Université Saint-Joseph de Beyrouth)

2025

Desde sus inicios, la industria cinematográfica en los países árabes estuvo ligada a proyectos de modernización y la construcción de sociedades con aspiraciones de progreso y emancipación. En su desarrollo fue influenciado por las experiencias internacionales, pero rápidamente comenzó a establecer su propia identidad que expresa los problemas y aspiraciones de la sociedad transformándose de un mero entretenimiento a una herramienta cultural que refleja el pulso de la calle y transmite sus experiencias y preocupaciones a la pantalla.
Dentro de este marco de análisis, el objetivo del taller es presentar una introducción a las cinematografías árabes desde una perspectiva de género con foco en los procesos sociales y políticos.

2025, Descentrada

Reseña de Cynthia Edul

2025, World Film Locations: Istanbul

in Özlem Köksal (ed.) World Film Locations: Istanbul (London: Intellect, 2012): 18-19, 70-71

2025, A Panoramic View of Women in Indian Cinema

There is a general tendency that the film cannot be done without a hero, though it is slowly vanishing. In the last few years, the Kannada industry has been trying to represent women in leading and influential roles, but the result is not that satisfactory. Representation of women as emotionally and financially independent can change society's mindset to see women as equal to men. As women-centred movies focus on women's problems, they will also encourage other women in society to open up in public about the problems they face. This particular chapter examines women-centred cinema in the Kannada Language. The content analysis of these movies focuses on how the women-centred issues are represented in the film, the impacts of the film on society

2025

T oplumsal meseleleri aktarmanın en önemli yollarından bir tanesi de sinemadır. Sinema aracılığı ile toplumsal birçok durum ve olay, toplumun hemen hemen her kesiminin tanıklık ettiği bir gerçekliğe dönüşmekte ve bu gerçeklik sanat ile birleşerek farklı nitelikler kazanmaktadır. Sinemanın sahip olduğu bu güç, sosyolojik birçok olgunun sinema ile ilişkisinin izini sürmeyi gerektirmekte ve sinema aracılığı ile topluma dair elde edilen veriler sosyolojinin ilgilendiği veriler hâline gelmektedir.

2025, Congreso Internacional en el Centenario de Sergei Parajanov

Ponencia presentada el 24 de octubre de 2024. Congreso Internacional en el Centenario de Sergei Parajanov (23 y 24 de octubre), organizado por Francisco A. Zurian | Cátedra Extraordinaria Complutense de Estudios Armenios | Grupo de... more

2024, Lectora: revista de dones i textualitat

2024, Livro Letramento Racial no CAp-UERJ. Vol. 3.

Todos os direitos garantidos. Qualquer parte desta obra pode ser reproduzida, transmitida ou arquivada desde que levados em conta os direitos das autoras e dos autores. Todo o conteúdo deste livro está licenciado sob uma Licença de Atribuição Creative Commons. Atribuição-Não-Comercial Não Derivativos 4.0 Internacional (CC BY-NC-ND 4.0).

2024

This cross-disciplinary collection provides the first comprehensive study of library music practices in the 1960s and 1970s. Library music was inexpensive, off-the-shelf music available to license for a small fee. It was widely used in... more

2024, Sequences La Revue De Cinema

Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.

2024, Cineaste Vol. XLIX, No, 3 (Summer) 26-32.

An overview of Shub's career from the late 1910s through her death

2024, SOUTH INDIA JOURNAL OF SOCIAL SCIENCES

In 1989, Kimberlé Crenshaw, an American professor, coined the term "intersectionality" to describe how various individual characteristics such as race, class, gender, and other factors overlap and intersect with one another. Intersectional feminism is a subset of feminism which recognizes the distinct identities and experiences of all women and acknowledges that all forms of discrimination overlap. Its ultimate goal is to achieve social and political equity by addressing the social stratification based on class, gender, race, sexual orientation, creed, disability, and age. Though initially a movement intended to explore female oppression, intersectionality has been criticized for being too broad, with its focus on subjective experiences making it difficult to identify shared sources of oppression. The south Indian biopic Thalaivi serves as an example of intersectionality in action, as it portrays the story of the actress and former Tamil Nadu Chief Minister Dr. J. Jayalalitha, who finds the courage to challenge societal norms and celebrate life.

2024

The knowledge that isn't transformed into compassionate wisdom is useless thinking. Hindu proverb. I come from the East, the Middle East, from the oral tradition of story telling and record keeping in memory. And I have been living in the West, where most everything is written down, intended for posterity. East might have been East and West West for Kipling, but they have been meeting in continued fluidity in my life and in my work for the past twenty years by necessity of a life as an immigrant. It was in the silent hiking with my grandmother, up and down the Caucasus Mountains. It was in the voice of my 110-year old great-grandmother, chiming her stories from the potato ditch where she was hiding from the Russians. It was in my mother's poetry. The flowers, the bees, and the honey she made. Home. When I think of home, I feel and smell her honeycomb. It takes me to the mountains of my foremothers; the shimmering voice of my great-grandmother in particular, whose name was Bedir. "Like the Moon above, I was so beautiful," she would say. The moon was home to many pagan women before Judeo-Christianity and Islam. Cornfields replaced the pine trees of my mountains. I would go to see Nutcracker at the IU Auditorium just to see fake snow flaked pine trees and to pretend, to feel closer to home, through the sensibilities of the Russian music aesthetic. I was here to study art, and soon art would become my home. The immigrant's incipient vi rootlessness accentuates his/her need to communicate; art becomes a vital outlet for the ineffable loneliness, the longing for the familiar, the sorrows and the joys of the host space in which one's now forever-mobile body becomes a home-on-foot. Here in the cornfields, it was nature, the hills of Brown County and the Buddhist temples resting in the woods that were home to me. Parks and temples became my dwelling places, to travel back to the other side, into childhood memories. Memories for the immigrant are keys to the door to a motherland left behind. Memories embody facts and figures, the people we knew and events that occurred; they are about the experiences. Memories are mostly about how we felt then. They are potent with emotions. Emotions are deemed or supposed to be secondary to the rational human. Most often, the law of the rational-Western man collides that of nature, for nature has a law of its own, one that is not concerned with manmade, rationalintellect; nature might be altered by humans, but ultimately it will always be humans who yield to nature, or else participate in their own destruction. Art utilizes the human experience as a whole: the mind, the body, the spirit, the mysterious and the emotions. Emotional intelligence, has been lagging behind the intellect for many centuries, resulting in aggression, violence, war, and death. Art gives us an outlet to try out our emotions in a safe space. Alongside literature and music, it has been the cinematic form that Turkish migrants have most utilized, to render visible and audible their daily existence in Germany, a land and culture very different from the Middle East Mediterranean. And here lies a surprising irony: what vii twist of fate that Turks, who had given Jews sanctuary after their expulsion by Christians from Spanish lands, Al-Andaluse, regained from Muslims half a millennium ago, would now be the Muslims filling the space left by the Jews after the Holocaust and thus become the new others in this German land. Mystery, like emotion, is considered feminine, and is not always meant to be known intellectually. For men culturally structured as rational it is thus especially unknowable, its ineffability particularly potent, and those who meet its obscure essence with reason and science may be caused to wonder. Indeed, Albert Einstein expressed this most eloquently: "The most beautiful experience we can have is the mysterious. It is the fundamental emotion that stands at the cradle of true art and true science." 1 And emotions are at the heart of the matter. Without a healthy development and processing of our feeling, of our sense of life, of our desires and denials, we are forever at odds, in imbalance within ourselves, and thus with each other and in turn with our wider environment, which takes us to the point, even, of its destruction. And yet from Plato and Aristotle to Descartes, the emotions were attributed to women as a pejorative, the less than rational, pertaining to the second sex. This has taken a firm hold in the West after the defeat of the Anatolian Black Sea Amazons;

2024

This text is an approach to the development of investigation in communication in Central America. This task has been put to action in the area since the decade of 1990 in an accelerated fashion and the topic treated is beyond diverse. The process has accelerated in the last years, particularly thanks to the help delivered by Information and Communication Tecnologies which allow bonding and dialogue between colleagues in different parts of the world, as well as the posibility of having access to investigations through the internet.

2024

2024, www.rirca.es

Bibiloni, G., Morales, J. y Amengual, G. (3 de mayo de 2023). RIRCA recomienda: lo mejor de la técnica stop motion (II). Grupo RIRCA. Representación, Ideología y Recepción en la Cultura Audiovisual.... more

2024, Séquences: La revue de cinéma

2024, CinámAction

CÉSPEDES GALLEGO Jaime, «Trois blessures: Les Routes du Sud», dans Cinéma et engagement: Jorge Semprún scénariste, coll. CinémAction, nº 140, Jaime Céspedes (éd.), Paris, Corlet Éditions, 2011, p. 96-100.

2024

Le Desperado, janvier 2017 : rétrospective Michèle Morgan. Lorsque la lumière revient dans la petite salle glaciale aux fauteuils rouges épuisés, le public silencieux constitué de septuagénaires, voire octogénaires, sort lentement et retourne à la rue hivernale : émotions cinématographiques retrouvées, souvenirs intimes associés au film, magie des images redécouvertes, souvenirs entêtants d'une fidélité de fan, bien-être de la nostalgie… Les stars contribuent-elles toujours à approfondir les solitudes individuelles 1 ? Une star Michèle Morgan ? Oui sans doute -même si elle en a souvent contesté le terme -mais une star émancipée, battante, lucide. « Moi je suis une femme qui a travaillé toute sa vie » avait l'habitude de répondre l'actrice lorsqu'on lui rappelait la star, la légende qu'elle était devenue. Ce sont 74 films tournés de 1935, première brève apparition dans Mademoiselle Mozart dont Danielle Darrieux était la vedette, à 1990 dans un film de Giuseppe Tornatore auprès de Marcello Mastroianni, huit rôles pour la télévision 2 , quatre rôles au théâtre dont celui d'Esther à l'âge de soixante douze ans dans les Monstres sacrés de Jean Cocteau auprès de Jean Marais en 1993, pièce mise en scène par Raymond Gérôme. La peinture vient en plus. Sa rencontre avec le peintre Jean Moïse Kisling réfugié aux États-Unis pendant la guerre qui fait son portrait en 1943 est décisive : « J'ai alterné les styles entre tachisme,

2024, MLN Volume 138, Number 1

2024

Manuel Antin est le premier cinéaste à avoir relevé le défi que constituait l'adaptation cinématographique des textes de Julio Cortázar. Après un premier essai en 1961-la nouvelle « Cartas de mamá » renommée au cinéma La Cifra Impar 2-, il se lance en 1963 dans la recréation filmique de « Circe » 3 , en collaboration avec l'écrivain [fig. 1]. L'étude du passage de l'écrit à l'écran révèle les intentions de chaque artiste, les compromis et les écarts entre deux modalités de lecture et d'écriture mais aussi et surtout l'apport du nouveau medium adopté pour recréer le mythe de la femme fatale à l'écran. Pour apprécier les processus de transfert d'un medium à l'autre, nous remonterons tout d'abord le fil de l'écriture cortazarienne, nourrie d'une lecture intertextuelle complexe qui fait apparaître la protagoniste féminine, Délia, comme une Circé moderne, dont le corps est l'objet de convoitise autant que de rejet. Puis nous nous intéresserons aux modalités de transposition filmique à l'oeuvre dans sa représentation.

2024, Turkish Studies

Kadınlar, son yıllarda taşıdığı pankartlarda, eril söylemi yapıbozuma uğratarak bu söylemdeki tamamlanmışlık, yeterlik ve mutlaklığının birer yanılsama olduğuna dikkat çekerek eksiklikleri göstermeye çalışırlar. Dişil söylem tamlık ve bütünlüğün imkânsızlığını ortaya koyar. Bu noktada dişil söylemde imkânsız bir tamam, mutlak ve doyum kabul edilir. Çünkü imkânsızlık, kişinin dilsel temsil edilmez kara noktasıdır. Tam olarak ifade edilemez, ancak dile getirildiğinde bile metonimik olarak kısmi parçalar şeklinde algılanır. Dişil söylemin aksine eril söylemde doyumun imkânsız olduğuna dair gerçek askıya alınır. İşte dişil söylem bu yanılsamayı yapıbozuma uğratarak gerçeği söyler. Bu noktada eril söylem hem gerçeğiyle karşı karşıya kalır hem de tatmin edilemeyişini dişile, hatta onun kötülüğüne atfeder. Hâlbuki ister kadın ister erkek olsun temel doyumsuzluk şikâyetinin kaynağı hadımı yaşar ve dilde saklayarak gösterir. Bu noktada dilsel ifadede temsil edilemeyen üzerine her söylem temsil edileni açığa çıkarmayı çabalasa da gizlemeye devam eder. Kadınlar açtıkları pankartlarında, kendileri hakkında eril söylemin ürettiği en sıradan söylemlerle bile sözde özdeşleşerek, eril söylemin kendileri hakkındaki bütün fantezilerini katetmiştir. Böylelikle eril söylemin kadına veya dişil söyleme olan fantezisini elinden alarak hem şiddetinin hem de zevkinin altını oymaya çalışmış, erili de tutunduğundan mahrum bırakmıştır. İşte kadına yönelik şiddetin temelinde dişil söylemin, eril söylemin boşluklarına işaret ederek, tümgüçlülük fantezisini her daim yıkıma uğratma ihtimalidir.

2024, Cine Bulles Le Cinema D Auteur Avant Tout

Tous droits réservés © Association des cinémas parallèles du Québec, 2004 Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique... more

2024, Séquences : la revue de cinéma

2024, Séquences: La revue de cinéma

2024, Livro Conectando saberes: gênero, tecnologia e informação na era digital

Informação, tecnologia da informação e transgeneridade ontem e hoje Rubens Ferreira A intersecção entre diversidade, equidade, inclusão, acessibilidade na pesquisa científica e a ciência aberta: um ensaio para compreensões preliminares

2024

A l’occasion de son 10e anniversaire, la revue "Genre en séries: cinéma, télévision, médias" organise à Paris en novembre 2025 un colloque sur "#MeToo français dans le cinéma et les médias. Contribution à la fabrique d’un objet de... more

2024, Séquences : La revue de cinéma

2024, Séquences: La revue de cinéma

Érudit est un consortium interuniversitaire sans but lucratif composé de l'Université de Montréal, l'Université Laval et l'Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche.... more

2024, Séquences: La revue de cinéma

2024, Séquences : La revue de cinéma

2024, Séquences: La revue de cinéma