"Visual Pleasure and Narrative Cinema" - Laura Mulvey In her "Visual Pleasure and Narrative Cinema" Laura Mulvey utilizes psychoanalysis theory as a "political weapon" to demonstrate how the patriarchic subconscious of society shapes our film watching experience and cinema itself. According to Mulvey the cinematic text is organized along lines that are corresponding to the cultural subconscious with is essentially patriarchic. Mulvey argues that the popularity of Hollywood films is determined
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of the larger feminist movement. While first-wave feminism of the 19th and early 20th centuries focused on women’s legal rights‚ such as the right to vote‚ the second-wave feminism of the “women’s movement” peaked in the 1960s and 70s and touched on every area of women’s experience including family‚ sexuality‚ and work.1 This movement has spread like waves throughout the world. Therefore‚ different feminist movements have brought
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democratic and inclusive approach to social situations (Wellmer‚ 2014). The theory itself offers a comprehensive explanation of Marxist philosophy while explicating its chief fiscal and political concepts relating to materials‚ personification‚ desire‚ and the analysis of mass culture (Corradetti‚ 2011). The theory found its catalyst around the time of World War II when the liberation of human beings fueled the mind of Max Horkheimer to develop the theory to provide an idea that through struggle
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The purpose of this essay is to analyze Maria de Zayas’ fiction “Ravages of Vice” and Emma Watson’s Speech at 2014 HeForShe in order to distinguish their vision on what has been described as feminism‚ gender equality or gender justice. This analysis will help to explore the potential utility as well as the limitations of their respective frameworks. Vision of Maria de Zayas about feminism can be distinguished through the speech of Lisis‚ protagonisrt in “Ravages of Vice.” Young lady‚ in her speech
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and Asian women can be addressed by or subsumed within a feminist and/or anti-racist framework (for both analysis and politics). In its fight for so called equality there is a hypocrisy that can be found. Feminist Theory claims to be fighting for woman’s right’s however groups such as the Liberation Woman’s Movement will show that the so called fight for equality is not universally applicable. Even with the emergence of Black Feminist movements marginalisation of ethnic minorities and evidence
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rights were central issues‚ and much of the movement’s energy was focused on passing the Equal Rights Amendment to the constitution assuring social equality regardless of sex. This phase drew in women of color seeking sisterhood and solidarity. This feminist agenda to attempted to combine social‚ sexual‚ and personal struggles and to see them as intricately linked. Identity feminism‚ in turn‚ inspired a new interest in women’s lives and voices‚ which was at once more observed and
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Cited: Churchill‚ Caryl‚ Top Girls‚ 1982 Austin‚ Gayle‚ Feminist Theories for Dramatic Criticism‚ University of Michigan Press‚ 1990. Case‚ Sue Ellen‚ Feminism and Theatre‚ London‚ Mac Millan‚ 1988 Eagleton‚ Mary‚ Feminist Literary Theory / A Reader‚ Blackwell Press‚ 1995. Dolan‚ Jill‚ The Feminist Spectator as Critic‚ UMI Research Press‚ 1988. Jaggar‚ M Alison‚ Feminist Politics and Human Nature‚ Brighton‚ Harvester‚ 1983 Naismith‚ Bill‚ Commentary in Caryl Churchill
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of housework or view their share as unnecessary (Rhode 55). “Women continue to face obstacles at work and in the home‚ but the solutions to these problems can be found in creating more equal opportunities‚ not in confining women to domesticity” (Jacobs and Gerson 36). Women often feel stress and encounter difficulties trying to meet their responsibilities as
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REVIEW OF WOMEN’S STUDIES The Troubled Relationship of Feminism and History Janaki Nair Why has history remained somewhat impervious to the questions raised by feminist interventions‚ while other disciplines have felt the imperative of a turn to history in general and feminist historiography in particular? This paper reviews both older and more recent contributions to the field of history to trace the dominant frames within which the methods and critiques of feminism have been accommodated
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male authors and male protagonists‚ Ferrante chooses to present a uniquely feminine body of work‚ that provides many challenges to the traditional focus on masculinity in the Italian literary canon. I feel that the following quote from the French feminist author Luce Irigaray (whose influence on Ferrante will be touched upon briefly) provides an excellent explanation of the impetus present behind Ferrante’s work‚ and indeed it’s critical study: “Le monde se désigne le plus souvent‚ dans les discours
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