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Seeing Yourself in the Past

The Role of Situational (Dis)continuity and Conceptual Metaphor in the Understanding of Complex Cases of Character Perception

Maarten Coëgnarts, Miklós Kiss, Peter Kravanja, and Steven Willemsen

they also complexify viewing experiences by their effect. Thus, on the one hand, the complexity of these films is a constructional one, problematizing mimetic representational norms and rules of classical narratives. By using unusual formal

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The Eisenstein-Vygotsky-Luria Collaboration

Triangulation and Third Culture Debates

Julia Vassilieva

Method, that any art form is constructed according to the norms typical of the earlier stages of psychological functioning. Furthermore, Vygotsky and Luria were interested not only in the development of concepts, but also in their disintegration as a

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Mirror Neurons and Film Studies

A Cautionary Tale from a Serious Pessimist

Malcolm Turvey

practices, and a great deal of what we want to know about art concerns this normative dimension. For example, in film studies we seek to clarify the conventions that define cinematic genres, or the stylistic norms employed by filmmakers within particular

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Looking for Something to Signify

Something to Signify Gender Performance and Cuban Masculinity in Viva

David Yagüe González

) would call the performativity of gender . The behaviors and actions that an individual carries out in their daily life and how they are translated by their society overdetermine the gender one might have—or not—according to social norms. Through this

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“Undoing” Gender

Nexus of Complicity and Acts of Subversion in The Piano Teacher and Black Swan

Neha Arora and Stephan Resch

Michael Haneke’s The Piano Teacher (2001) and Darren Aronofsky’s Black Swan (2010) are films about women directed by men. Both films unorthodoxly chart women artists’ struggle with the discipline imposed on them by the arts and by their live-in mothers. By portraying mothers as their daughters’ oppressors, both films disturb the naïve “women = victims and men = perpetrators” binary. Simultaneously, they deploy audiovisual violence to exhibit the violence of society’s gender and sexuality policy norms and use gender-coded romance narratives to subvert the same gender codes from within this gender discourse. Using Judith Butler’s and Michael Foucault’s theories, we argue that Haneke and Aronofsky “do” feminism unconventionally by exposing the nexus of women’s complicity with omnipresent societal power structures that safeguard gender norms. These films showcase women concurrently as victim-products and complicit partisans of socially constructed gender ideology to emphasize that this ideology can be destabilized only when women “do” their gender and sexuality differently through acts of subversion.

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Andrew J. Ball

critical methods to show that the feminist potential of the slasher genre was co-opted and transformed by major studios to reinforce the norms of cis white masculinity. She introduces her concept of “the hegemonic imagination” to demonstrate how an

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Anxious Breath

An Autoethnographic Exploration of Non-binary Queerness, Vulnerability, and Recognition in Step Out

Lara Bochmann and Erin Hampson

fail to attend to. Discussing visibility and recognition and challenging norms through stepping outside also bring up, for us, the topic of resistance. Through our reflection, we concluded that persistence and resistance are inherent in non

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Ling Tang, Jun Zubillaga-Pow, Hans Rollmann, Amber Jamilla Musser, Shannon Scott, and Kristen Sollée

Sunset Boulevard demonstrate both the malleability of evolving cultural standards for aging stars and the agency that those stars could themselves bring to bear on social norms. Subsequent chapters explore other dimensions of star generation and

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“There’s nothing makeup cannot do”

Women Beauty Vloggers’ Self-Representations, Transformations, and #thepowerofmakeup

Michele White

researchers, including Susan Bordo (2003) and Brenda R. Weber (2007) , often interrogate makeovers and beauty culture because they can establish unlivable norms and control women’s self-conceptions and behavior. This includes the ways reality television

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Report

A Compassionate Look

Ryan Schowen

politics of closure. From the ravages of war, to climate change, to gender norms and expectations, to global migration and cultural integration, the exhibit explores the multifaceted concerns that preoccupy young Iranians today. Ali Tajik’s uplifting