Gender and Cinema Research Papers (original) (raw)

Colloque international, 6 et 7 juillet 2015, Université Bordeaux Montaigne
co-organisé avec Raphaëlle Moine, en partenariat avec Charles-Antoine Courcoux
Cet événement s’inscrit dans le cadre du projet de recherche international « L’Âge des stars : des images à l’épreuve du vieillissement», piloté par l’Université Bordeaux Montaigne, en collaboration avec l’Université de Lausanne et l’Université Sorbonne Nouvelle Paris 3.

- by and +1
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- Gender Studies, Film Studies, Popular Culture, Celebrity Culture
- by martin stollery
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- Gender Studies, Film Studies, Documentary (Film Studies), Walter Benjamin

Soutenu par le Labex ICCA, ce séminaire entend contribuer à fédérer, dans une perspective pluridisciplinaire, un ensemble de travaux se proposant d’étudier les films ou les cinémas dits « de genre », tout en réfléchissant aux différents sens de ce qualificatif polysémique et à la variété de ses usages créatifs, professionnels et cinéphiliques.
Il déroulera une fois par mois le vendredi (15h-17h) à la Maison de la Recherche de la Sorbonne Nouvelle. Les propositions sont à envoyer avant le 15/09.

- by Thomas Pillard
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- Film Studies, Genre studies, Genre, Horror Film
- by Laurence H. Mullaly
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- Gender Studies, Cuban Studies, Gender and Cinema, Cuban Cinema

Les novellisations des magazines spécialisés forment le continent oublié de l’histoire culturelle du cinéma, malgré la précocité avec laquelle ce type de presse à grand tirage s’est tourné vers les adaptations romancées de films, l’intensité des circulations médiatiques dont elles témoignent et la longévité des publications qui leur étaient dédiées : un périodique comme Le Film complet, principalement lu par un public jeune, féminin et de classe moyenne, a publié pas moins de 3297 numéros entre 1922 et 1958, chacun d’entre eux proposant a minima un récit de 10-15 pages agrémenté de photographies. Leur étude pose certes des difficultés, liées à l’absence d’archives d’entreprises de presse, au manque d’informations sur les auteur·e·s des récits et leurs publics, ainsi qu’à la disparition des films. Les « films racontés » n’en constituent pas moins une trace précieuse et significative des modes de diffusion et de consommation du loisir cinématographique avant les années 1960, comme l’ont montré les travaux ayant esquissé l’étude de cet objet.
Notre article prolonge et approfondit l’examen de cette source au regard de l’histoire des publics et de la réception, à partir de l’étude de cas des novellisations publiées dans Le Film complet dans les années 1950. Il est en effet possible d’étudier la production et les usages de ces textes médiatiques, en tant que pratiques éditoriales et cinéphiliques, en les mettant en relation avec les discours tenus sur eux dans le courrier des lecteurs du magazine, aussi bien par le journaliste chargé de modérer les échanges, qui est également un auteur de récits, que par les lecteur·rice·s.

- by Thomas Pillard
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- Gender Studies, Media Studies, Film Studies, French Cinema

La participación de las mujeres en la industria audio visual no es equitativa. En Argentina hay un progreso desde la década del 90, pero es lento. Las investigadoras Agustina Pérez Rial y
Paulina Benttendorff, del Centro Cultural de la Memoria Haroldo Conti, reflexionan sobre la representación femenina en el cine y, a partir de un ciclo que organizaron sobre Agnés Varda y Chantal Akerman, observan similitudes entre las obras de estas realizadoras y las de las argentinas Celina Murga y Anahí Berneri.

- by Agustina Pérez Rial
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- Gender and Cinema, Agnes Varda, Chantal Akerman, Nuevo Cine Argentino

El presente trabajo se propone abordar la desigualdad de género en la industria cinematográfica. Observamos que las mujeres en el cine han reproducido su lugar en la estructura social, por lo cual quedaron relegadas a desempeñar los puestos asociados a la delicadeza como cortadoras de negativo, de feminidad como vestuario o maquillaje o a las tareas de cuidados como asistentes o productoras. Este esquema verticalista y patriarcal se cristalizó en los comienzos de la industria debido a que el conocimiento sobre fotografía, luz o sonido se adquiría de oficio. Por este motivo se hizo efectiva la separación de hombres
y mujeres por los estereotipos de género. Este conjunto de rasgos de la industria del cine, sumado a la ausencia de referentes femeninas, ha contribuido a que sea difícil para las siguientes generaciones identificar las formas de opresión en este medio y pensar en otras formas de hacer cine. Paralelamente a la división sexual del trabajo se ha producido la segregación de los derechos culturales, como así también de la producción y conservación del patrimonio cultural de las mujeres
en el séptimo arte. El cine entendido como práctica social, inserta en relaciones de poder, es un instrumento fundamental de expresión para los sectores subalternos, como es el caso de las mujeres.

- by Florencia Guardia
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- Gender and Cinema, Cinema Studies, Sociología, Mendoza

Les blockbusters américains sont aujourd’hui des productions cinématographiques dominantes, notamment grâce à l’avènement de grandes franchises et sagas dites de science- fiction dont Marvel, DC Comics, Star Wars, Alien, Terminator, etc. Les représentations de héros et de super héros se multiplient au sein des représentations de ce type de cinéma. En revanche, les héroïnes et super héroïnes ne sont que très peu nombreuses, ce qui illustre un certain rapport de pouvoir entre les genres. Il est possible de supposer que les représentations des productions cinématographiques produisent et véhiculent des discours, mais quels sont-ils ? S’agit-il de discours hégémoniques ? Des discours normatifs et stéréotypés ? De discours féministes ? À l’intersection entre études culturelles, féministes et recherche création, ce mémoire s’intéresse à la représentation des corps féminins dans les blockbusters américains dits de science-fiction. Au travers d’une exploration de quatre personnages, le processus de représentation est étudié comme étant un outil permettant à la fois de produire et de questionner des normes et stéréotypes de genre. Suite à la réalisation d’entrevues, ce mémoire explore également de cerner les interprétations et perceptions qu’ont les femmes des représentations féminines du cinéma de science-fiction. Participant d’un projet de recherche création, les données recueillies lors des entrevues sont rassemblées et analysées au travers d’un récit fictionnel qui permet également une expérimentation de la méthodologie du processus créatif à des fins académiques. La fiction, et la représentation, sont étudiées sous différents angles, à la fois au travers de l’exploration et de la création.

- by Esther Armaignac
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- Creative Writing, Popular Culture, Social Representations, Social Norms
- by Dr. Benazir Manzar
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- Cultural Studies, Anthropology, English Literature, Art

La ricerca di sé stessi e della propria identità, sia per quanto riguarda il piano fisico che per quanto riguarda il piano mentale, è sempre stata uno dei temi cardine di ogni forma narrativa.
Attraverso concetti come "Cross - dressing" e "Psycho - trans" analizzeremo brevemente il rapporto tra il corpo in transizione e il cinema, con le ovvie ricadute sociali che comporta.

- by Sara Picello
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- Gender Studies, Queer Studies, Translation Studies, Gender

This is Chapter 7 of Lingzheng Wang ed. Chinese Women's Cinema: Transnational Contexts, published by Columbia University Press in 2012. This chapter focuses on four female directors of China's "Fifth Generation": Peng Xiaolian, Li Shaohong, Hu Mei and Liu Miaomiao. It has two parts--(Re)wrting Women's Histories/Stories, and, (Re)mapping Women's Spaces/Place--that respectively discusses these female writer's contribution in writing about women and the unique ways they used in exploring cinematic spaces.

- by S. Louisa Wei 魏時煜
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- Women's Studies, Women's History, Literature and cinema, Cinematic Space

Over a period of time, Cinema has become an emphatic medium to introduce some major questions in society. The changing depiction of women in Indian Cinema from being labelled as weak and objectified to being shown as strong lead characters have been quite evident. Though there has been a considerable attempt to show the changing status of women in Bollywood in recent films like Piku (2015), Nil BateySannata (2016) and Anarkali of Arrah (2017) with leading female characters who are independent and move beyond the lines of gender stereotypes and patriarchal influences but the lack of complex narrative structure and the lucidity in the narrative techniques fail to make the desired critical impact.

- by Dr. Benazir Manzar
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- English Literature, Film Studies, Popular Culture, Culture
- by Barbara Zecchi
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- Gender and Cinema
- by Aishwarya Javalgekar
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- Gender Studies, Media Studies, Film Studies, Indian studies

2 vol. (725 p.) Jury : Vincent Amiel, Michel Marie, Raphaëlle Moine, Jacqueline Nacache, Geneviève Sellier (Directrice de thèse), Ginette Vincendeau. Doctorat d’études cinématographiques et audiovisuelles, mention Très Honorable avec... more

2 vol. (725 p.)
Jury : Vincent Amiel, Michel Marie, Raphaëlle Moine, Jacqueline Nacache, Geneviève Sellier (Directrice de thèse), Ginette Vincendeau.
Doctorat d’études cinématographiques et audiovisuelles, mention Très Honorable avec les félicitations du jury à l’unanimité (Université de Caen Basse-Normandie).
soutenue le 10.11.2007

- by Gwénaëlle Le Gras
- •
- Cultural Studies, Gender Studies, Reception Studies, Film Studies

- by Dr. Benazir Manzar and +1
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- Cultural Studies, Anthropology, English Literature, Film Studies
- by Deniz Erdoğan
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- Gender Studies, Gender And Violence, Gender and Cinema
- by Aygün Şen
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- Gender Studies, Turkish Cinema, Cinema, Gender and Cinema
- by Francisco A . Zurian and +1
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- Gender Studies, Gender and Sexuality, Gender and Cinema, Gender and sexuality in cinema
- by Deirdre Barrett
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- Neuroscience, Cultural Studies, Media Sociology, Psychology
- by Volkan Yücel
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- Gender Studies, Gender and Cinema, Series TV, Media Stereotyping

The purpose of this book is to provide valuable information about the representation of gender in Moroccan cinema and to offer data to help to find a better strategy to suit the producers and the audience as well. The aim of this book is to survey and evaluate Cinema in a Moroccan context, through the investigation of females and males representation in Hijab Al Hob (The Viel of Love) the movie to help researchers to refine the image of all genders

- by Hmad BENAISSA
- •
- Gender Studies, Sex and Gender, Gender, Gender and Cinema

This study explores the elements of Orientalism in German-Turkish director Fatih Akin's films Head-On (2004) and The Edge of Heaven (2007). Utilizing Homi Bhabha's theory of "third spaces," which immigrants often inhabit, and Edward Said's lens of the postcolonial gaze, I analyze the degree to which the bodies of immigrants willingly embody the mysterious "oriental," and how and when it is projected upon male and female characters in these two films. Akin's characters dwell between a perceived and imaginary Occident and Orient, while living and traveling in the soil of both Germany and Turkey.

The aim of this introduction is to provide a context for the articles that follow in this cluster on Women’s Lives on Screen. Starting with some reflections on how biopics can matter to audiences, I propose the use of ‘mattering’ as a concept for the study of women’s biopics which helps consider their objectification of women as biographical ‘material’ on screen in tandem with their emancipatory refiguring of women as biographical subjects that are made to matter. The introduction also offers a brief overview of biopic studies as they relate to the subject of women’s lives on screen. It ends by sketching the breadth of topics covered in this cluster with a summary of the eleven articles.

- by Eugenie Theuer
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- Gender in Film, Women & Film, Biopic, Feminist Film Studies

Worker Frames in documentary: an historical analisys of the representation of the working class in political and union struggles in São Paulo in the 1970’s.
The confluence between worker movement events and the role played by leftist filmmakers in the 1970’s, resulted in important Brazilian documentary making. The film, Crossed Arms, Stopped Machines (GERVITZ et SEGALL, 1978), an audiovisual work of epochal impact, narrates the dispute between three ideologies and programs running for the metallurgic union in São Paulo, in 1978.
At the end of that decade, Brazilian politics would be overcome with massive protests and worker strikes. The “Commission Strikes” happened during the democratic transition in São Paulo, the region with one of the highest GDPs in the country. The narrative plot in the film directed by Roberto Gervitz and Sérgio Toledo Segall takes place during this historical event and period.
The directors were invited by Chapa 3, which represented the candidacy São Paulo’s Metallurgic Union Opposition (OSM-SP), to document their electoral campaign. During the shooting, there were big strikes in São Paulo and in the industrial ABC region, and these events shaped the narrative building and the film’s entire perspective.
In this thesis, “Crossed Arms, Stopped Machines” is analyzed as a report of the activities undertaken by São Paulo’s Metallurgic Union Opposition. It is analyzed as a political and aesthetic intervention that would come to create a new representation of the working class. It allowed for the mapping of the debate on expectations and political and cultural impasses, at a time the leftists were being redefined. This would all lead to the matrix of an emergent left wing and the subsequent establishment of the “Partido dos Trabalhadores” (PT- Workers Party) two years after the film was produced.

- by Regina Egger Pazzanese
- •
- Film Analysis, Brazilian History, Aesthetics and Politics, New Left

Naomi Kawase's work has often been said to be sensitive and physical. In this presentation I argued that this aesthetics of the delicate which identifies the style of the Japanese filmmaker hinges on a certain poetics of motherhood which runs through her work from different levels. First, there’s the artist’s own real maternity reflected in many of her documentaries, the cinematic centre of which is the strong personal and directorial decision to shoot the birth of his son in Birth/Mother (Tarachime, 2006). Secondly there’s the absent motherhood of her mother, and the research for her disappeared father, to which she will also dedicate much of her documentary work. This emptiness will create the revision of her grandmother as her main motherly figure, exploring the relations between body and motherhood. Motherhood as a theme will also be found across the characters of her fiction films, from the care-giver in The Mourning Forest (Mogari no Mori, 2007) trying to take care and understand a senile man to the old lady in Sweet Bean (An, 2015), passing old knowledges on to his young apprentice. In fact, these notions of old knowledge and transmission leads us to another level of motherhood in Kawase’s work, one that appears through the aesthetic and thematic insistence in traditions, ancestries and the rural –think of the parade in Shara (Sharasôju, 2003), the artisan works of Hanezu (Hanezu no tsuki, 2011) or the importance of the live and death cycle in Still the Water (Futatsume no mado, 2014)– and which understands not only the so-called Mother Nature but the world itself as a mother.

- by Chantal Poch
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- Film Studies, Japanese Cinema, Women & Film, Gender and Cinema

This article reflects on the contemporary digital turn that has transformed our audio-visual experiences fundamentally, and has affected mainstream control over production and circulation of data. Clearly, such conditions have reinvented the problematical relation between producer and receiver. In relation to such circum- stances, the article focuses on marginal film festivals, especially the TENT ‘Little Cinema International Festival’ for experimental films and new media-art, held in Kolkata, India, since 2014. ‘Little Cinema International Festival’, on one hand, showcases international packages such as those from Berlinale; on the other hand, it presents curated programmes comprising videos made by first-time filmmakers from India. The article deliberates on the broad and long drawn contexts of ‘festivals’ and artistic endeavours, as well as the formal contours of the videos, which gener- ate spaces for dialogues, both within the filmic text, and in the milieus in which these are shown. The emphasis on the thriving ‘amateur’ practice also draws atten- tion to ‘Little Magazine’, ‘Little Theatre’ and ‘Little Film’ practices in West Bengal, as well as contemporary new-media transactions, which has transmediated into newer modes of articulations.
Keywords
independent film festivals
independent cinema amateur films
world cinema
Asian cinema
Super 8 digital turn new media

- by Madhuja Mukherjee
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- New Media, Film Studies, Film History, Gender and Cinema

The appearance of the character of a femme fatale in Egyptian cinema in the mid-1950s is deeply intertwined with the new social and moral imprint made by the Nasserist regime. At a time when women’s participation in the public sphere was regulated, the portrayal of the evil woman was intended to define how the good woman should behave as well as the terrible fate in store for those who dared to flout the limits. This evil woman was embodied in the character of the Oriental dancer who was to be seen, from that time on, as a fallen woman. This article aims to discuss the mutation of the character of the dancer from a bint al balad (lit. “girl of the country”) to a femme fatale by analyzing three films starring two icons of the time, Hind Rustum and Tahia Carioca.

- by Carolina Bracco
- •
- Gender Studies, Egypt, Cinema, Gender and Cinema

Bu çalışmanın amacı, erkek egemenliğindeki sinema içerisinde dişil dilin inşa ettiği farklı erkek(lik) halleri ile eril dili kıran söylemleri açığa çıkarmaktır. Makalede örneklem olarak yönetmen Pelin Esmer'in 11'e 10 Kala (2009), Gözetleme Kulesi (2012) ve İşe Yarar Bir Şey (2017) filmleri seçilmiştir. Esmer, filmlerinde erkeklikleri filminin anlatısı içerisinde bir eleştiri unsurunun ana öznesi olarak kurmaktan ziyade kendi tikelliklerinde inşa etmektedir. Bu, onun sinemasını makale için önemli kılmaktadır. Dişil sinema olarak adlandırdığımız Esmer'in sinemasında inşa ettiği farklı erkeklik halleri, bu erkekliklerin birbirleriyle ve kadın karakterlerle ilişkiselliklerindeki dönüşümleri ve ataerkil hegemonik erkeklik davranışları ile ilişkili olarak üst-yapı karşısında sergiledikleri faillikleri; karakter odaklı bakış ile anlatı ve sinematografiyle birlikte nitel araştırma yöntemlerinden sosyolojik film analizinden yararlanılarak çözümlenmiştir. Bu analiz sonucunda, Esmer'in filmleri, hem klasik sinema anlatısına hem de belirlenimci eril dil söylemine alternatif bir dişil dil üreterek, farklı toplumsal cinsiyet inşalarının mümkün olabileceğini göstermiştir.

- by Esra GÜNGÖR KILIÇ
- •
- Cinema, Gender and Cinema, Masculinities and Cinéma
- by Rebecca Stringer
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- Gender and Cinema, Vigilantism, Feminism and Popular Culture
- by Francisco A . Zurian and +6
- •
- Gender Studies, Film Studies, Gender and Sexuality Studies, Gender and Cinema

Nobel laureate Niko Tinbergen coined the term ‘supernormal stimulus’ after discovering that birds who lay small, pale blue eggs speckled with grey prefer to sit on larger, bright blue eggs with black polka-dots. He found that he could exaggerate the key qualities of any natural stimulus to produce a stronger reaction yet--be it nurturance, courtship, fear or aggression.
Animals encounter supernormal stimuli mostly when experimenters build them. Humans can generate their own and media are awash with them: friendly smiling faces more consistently welcoming than ones own friends, animated cartoon characters with wider eyes than any real child’s, seductive bodies exceeding any proportions found in nature, and a huge array of supernatural menaces.
This chapter examines film, television, spectator sports, video games, and social websites as well as more traditional media such as print and musical performance in terms of the concept of supernormal stimuli.

- by Deirdre Barrett
- •
- Evolutionary Biology, Neuroscience, Ethology, Sociology

An interrogation of how independent filmmaker Gregg Araki's musical connoisseurship bleeds directly into his mise-en-scene and narrative style. Building off of Claudia Gorbman's theory of the mélomane (a music-obsessed auteur that absorbs curatorial duties from the music supervisor), in this article I will: 1) scrutinize the aesthetic efficacy and pitfalls of such an approach, 2) reposition connoisseurship as a mode of active performance on behalf of the director, and 3) debate how notions of gendered connoisseurship are reformulated by Araki's queer sensibility.

- by Adam Bagatavicius
- •
- Cultural Studies, Music, Music Theory, Gender Studies
- by Terrance H. McDonald
- •
- Indigenous Film, Canadian film, Gender and Cinema, Canadian Cinema
- by Gizem PARLAYANDEMİR and +3
- •
- Turkish Cinema, Gender and Cinema

Η παρούσα εργασία πραγματοποιήθηκε στο πλαίσιο του μαθήματος «Εικόνα, βλέμμα και φύλο στον κινηματογράφο» με διδάσκοντες τους Ιωάννα Αθανασάτου, Σάββα Μιχαήλ και Δημήτρη Παπαχαραλάμπους, υπό την ανάθεση και την καθοδήγηση του τελευταίου.
Με αφετηρία τις ταινίες Night and the City (1950) και Chinatown (1974), που ανήκουν στα κινηματογραφικά είδη noir και νέο-noir αντίστοιχα, θα μελετήσω την συντριβή του noir ήρωα καθώς και την διαφοροποιημένη εκδοχή του κινηματογραφικού αντρικού προτύπου, που υποβάλλεται ή αυθυποβάλλεται σε ένα πλαίσιο δοκιμασίας απέναντι στην ανδρική κοινωνική δομή, τον noir φαταλιστικό εφιάλτη και τέλος, τα καθιερωμένα ανδρικά στερεότυπα με βάση την θεωρία της επιτελεστικότητας της Judith Butler. Στην συνέχεια, θα αναφερθώ στο ανδρικό πρότυπο, σύμφωνα με το πως επικρατεί και προάγεται στις δύο εποχές που γυρίστηκαν οι δύο ταινίες, κάνοντας και μία αδρομερή περιγραφή των σημερινών δεδομένων.

- by Katerina Trichia
- •
- Gender, Masculinity, Film Noir, Gender and Cinema
- by Francisco A . Zurian
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- Men's Studies, Sexuality, Gender and Sexuality, Gender and Sexuality Studies