Cinematic Women, From Objecthood to Heroism: Essays on Female Gender Representation on Western Screens and in TV productions
Lisa V Mazey (Ed.)
by Ismael Frouini (Chouaib Doukkali University, El Jadida, Morocco)
Women have fulfilled film roles that exhibit their historically subservient or sexualised positions in society, among others. Over the decades, the gender identity of women has fluctuated to include powerful women, emotionally strong women, lesbian women, and even neurologically atypical women. These identities reflect the change in societal norms and what is now acknowledged as more likely and more mainstream.
The evolution of society’s views of women can be mapped through these roles; from 1950’s America where women were depicted as the counterpart to male characters and their masculinity either as a threat or support to the patriarchal norms; to more recent times, where these norms have been questioned, challenged, deconstructed and reconstructed to include women in a more equitable balance. Although the fight for equal access, equal pay and equal standing still exists in all walks of life and different cultures.
The essays offer a unique vantage of the changing culture and conversations that allowed, encouraged, and praised an evolution of women’s roles. They strive to represent the issues faced by women, from the early heyday of Hollywood through to films as recent as 2007; examining depictions of the masculine gaze, mental and physical oppression, the mother figure, as well as how these roles may develop in the future.
The book contains valuable material for film students at an undergraduate or post-graduate level, as well as scholars from a range of disciplines including cultural studies, media studies, film studies and women’s and gender studies.
By Claire Menard, PhD, Cornell University and Anne-Caroline Sieffert, PhD, Alfred University
Effects and Consequences of the Male Gaze – an Old Way of Seeing
The Danger of Obsession: Questions of Power and Freedom in Hitchcock’s Vertigo
by Lisa V. Mazey, Indiana University of Pennsylvania
Multiple Gaze in Transnational Adaptation Film in Chanwook Park’s The Handmaiden
by Yeojin Kim, Binghamton University, SUNY
Stirring Female Roles - a Current Way of Seeing
Debra Granik’s Resilient Tomboys
by Mary Jane Androne, Professor emerita, Albright College
Belief in Our World: Feminine Transcendence in Contemporary Post-secular Cinema
by Forrest Johnson, York University, Toronto, Canada
Imagined and Future Females – a Possible Way to See
She’s the Captain And the Caretaker: Imperial Domesticity and Salvation Narratives in Star Trek: Voyager
By E. Leigh McKagen, Virginia Polytechnic Institute and State University
Brains, Brawn, and Beguilement: Major Female Characters on FOX’s Sleepy Hollow
by Karen J. Tuthill-Jones, Connecticut Technical High School System
Drone Warfare and Female Warrior: Good Kill and Eye in the Sky
by Hyunyoung Moon, William and Mary
“What a Lovely Day!” Using Mad Max: Fury Road to Explore Common Themes of Female Representation in Post-Apocalyptic Pop Culture
by Evangeline Kroon, York University, Toronto, Canada
Liza V. Mazey is a PhD candidate at Indiana University of Pennsylvania, studying English Literature and Criticism. She has been a public-school teacher for 14 years, teaching English and working as a Reading Specialist. Her wider interests include Historical Fiction, films and gardening. She lives in Indiana, PA, with her husband and children.
Colonial gaze, gender, cinema, Morocco, Josef von Sternberg, Robert Florey, women, Alfred Hitchcock, Vertigo, power, masculinity, fantasy, obsession, transnational, bondage, Sarah Waters, Fingersmith, Handmaiden, Victorian Era, Japanese imperialism, nationalism, nationhood, patriarchy, Debra Granik, Winter’s Bone, Leave No Trace, teenage, girlhood, Carol Gilligan, Appalachia, Oregon, community, friendship, Mary complex, post-secular, The Fountain, Aronofsky, Tree of Life, Mallick, transcendental, witness, Abigail Mills, Sleepy Hollow, drone warfare, female warrior, Good Kill, Eye in the Sky, women in combat, Mad Max: Fury Road, post-apocalyptic, pop-culture, feminist, Lars von Trier, Antichrist, misogyny, Golden Heart Trilogy, Susan Faludi, Backlash: The Undeclared War Against American Women