Bibliography: Laura Mulvey (1975) Visual Pleasure and Narrative Cinema‚ Screen 16.3 Autumn. Judith Butler (1990) Gender Trouble‚ New York‚ Routledge Andrea Dwokin (1988) Letter From a Warzone‚ Lawrence Hill Books Ann Oakley (1974) The Sociology of Housework‚ London‚ Robertson
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The Representation of Gender Relations in Atom Egoyan ’s Chloe and Anne Fontaine ’s Nathalie Outline 1. Chloe and Nathalie – the starting point 2. The Representation of Gender 2.1. The Three Voyeuristic-Scopophilic Looks 2.2. Identification in Nathalie and Chloé 2.3. The Unconscious in Nathalie and Chloe 2.4. Nathalie and Chloe’s characters and Freud’s theory on the human psyche 3. Closing Remarks 1. Chloe and Nathalie – the starting point “A doctor
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although narrated with fair objectivity‚ all reminiscences represent a multitude of unreliable points of view on Kane’s life story‚ to the point that Herman Mankievicz‚ the movie’s screenwriter‚ baptised the film’s particular narration style “prismatic” (Mulvey 1992: 22). In fact‚ through the recourse of multiple characters’ accounts‚ the story ‘is narrated in such a way as to highlight the partial‚ incomplete nature of human understanding and perception’ (ibid.). According to this interpretation‚ the picture
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Faez Khanmohamed Professor Todd Boyd CTCS 192 2nd August 2012 Shift in Objectification of Women within American Cinema Imagine a film opens with a shot of immensely vast blue eyes. The shot slowly expands to show a nose and red blushed cheeks. The shot continuously expands to show lips drowned by red lipstick‚ a slender neck‚ the cleavage of breast‚ flat stomach‚ and eventually slender long legs. This opening could very well be used in many films for the reason that it invites the viewer
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Bibliography: • Evans J‚ Halls‚ Visual Culture: The Reader 1999 • Laura Mulvey – Visual Pleasure and Narrative Cinema • BBC Radio 4 – Women’s Hour Timeline • Wikipedia • www.historylearningsite.co.uk • www.vogue.co.uk • Vogue Covers‚ Conde Nast Publications‚ 2007
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Cited: 1) Mulvey‚ Laura. Fetishism and Curiosity. London: British Film Institute‚ Indiana University Press‚ 1996. Print. 2) Haskell‚ Molly. From Reverence to Rape: The Treatment of Women in the Movies. Canada. Holt‚ Rinehart‚ and Winston of Canada‚ 1973‚1974. Print.
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Throughout centuries‚ Greek mythology proved to be one of the most influential cultures in history‚ which is why we still see it in today’s media in Western modern culture. Exploring today’s media through Laura Mulvey’s lens of her theory of the Male Gaze‚ we were able to see how Greek culture affects the way women are portrayed in Western culture. Focusing on one specific female character of Greek mythology‚ we analyzed how Greek mythology is still present in modern culture. Additionally‚ we found
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Social cognitive Theory and Feminist Theories The goal in this individual assignment is to apply the social cognitive theory and feminist theories to contemporary media content and to compare and contrast different theoretical perspectives. Attached to this paper there will be a print advertisement specifically chosen to analyze how and whom these theories reflect on in new media today. After analyzing the two perspectives‚ the theories will be compared and contrasted‚ showing the similarities
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Is the gaze male? Book Title: Women and Film: Both Sides of the Camera. Contributors: E. Ann Kaplan author. Publisher: Methuen. Place of Publication: London. Publication Year: 1983. Page Number: 35. Since the beginning of the recent women’s movement‚ American feminists have been exploring the representation of female sexuality in the arts—in literature‚ painting‚ film‚ and television. As we struggle towards meaningful theory‚ it is important to note that feminist criticism‚ as a new way of reading
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Un Chien Andalou and the Language of Desire According to Rosemary Lambert in the Cambridge Introduction to the History of Art: The Twentieth Century‚ "Surrealism was concerned with exploring and illustrating the unconscious mind" (40-41). This exploration and illustration was carried out with the use of dream imagery‚ symbols‚ puns‚ and with a general attitude of complete freedom of expression. The surrealists were concerned with liberating the imagination from its rational and scientific
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