Related Papers
Prisma Social
(500) Days of Postfeminism: A Multidisciplinary Analysis of the Manic Pixie Dream Girl Stereotype in its Contexts
2017 •
Lucia Gloria Vázquez Rodríguez
In 2007, after watching Elizabethtown (2005), film critic Nathan Rabin coined the term Manic Pixie Dream Girl in order to describe a nascent filmic female trope as “that bubbly, shallow cinematic creature that exists solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures” (2007). Since then, the concept acquired enormous widespread cultural currency, and the type of female characters responding to the stereotype multiplied, although not a single thorough scrutiny of its gender values has been undertaken from the Academia, perhaps due to the fact that independent (“indie”) productions – where most of these characters are found – provide their films with a certain patina of ideological credibility. However, with her performance of traditional cute (Ngai, 2012), girlish femininity, her vulnerability, her neoliberal sexual freedom, and, above all, her being-for-the-Other, the Manic ...
Revisi Tetrastigma (Vitaceae) di Sumatera
2017 •
Yeni Rahayu
US Independent Film After 1989: Possible Films, Edited by Claire Perkins and Constantine Verevis
US Independent Film After 1989: Possible Films
2015 •
Constantine E Verevis
Canning Laura Smart Cinema As Trans Generic Mode a Study of Industrial Transgression and Assimilation 1990 2005 Phd Thesis Dublin City University
Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005
2014 •
Laura Canning
Feminist Media Histories
A Rather Crude Feminism: Amy Schumer, Postfeminism, and Abjection
2017 •
Jason Middleton
Postfeminist ideology "takes feminism into account" by framing liberal feminist principles as already achieved, thus preempting a more radical feminist politics that it constructs as both unpleasant and irrelevant. In a corresponding mode, postfeminist cultural objects derive their power in part by preempting feminist critique with irony. It is precisely this ideological double bind that the comedian Amy Schumer confronts. This essay analyzes how Schumer develops a feminist critique of the knotty problems of postfeminist ideology. Postfeminism casts feminism as abject, as the "repulsive and disgusting" monster that perpetually endangers the "empowered" postfeminist woman of today. But Schumer inverts this construction: in her show's sketches, postfeminism as an ideological formation materializes in an array of comic abjections to which Schumer's persona is subject. In short, the condition of postfeminism is one of abjection. The comic hyperbole of Schumer's character's abjections, combined with her uncritical complicity, invokes for the viewer feminist solutions.
american independent cinema
Maxi Gramajo
Historical Journal of Film, Radio and Television
Acting Indie: Industry, Aesthetics, and Performance
2020 •
Cynthia Baron
Inconsistent Cinema: Paul Thomas Anderson, There will be blood and the postmodern filmmaker
2021 •
Kyle Barrett
Paul Thomas Anderson’s early work up to and including There Will Be Blood (2007) are examples of incoherent, postmodern cinema. Anderson’s formative years produced four critically acclaimed features, Hard Eight (1996), Boogie Nights (1997), Magnolia (1999), and Punch-Drunk Love (2002), all of which presented related themes and aesthetics. Though There Will Be Blood does depict a complex father-son relationship similar to that found in Hard Eight, Boogie Nights, and Magnolia, the film is stylistically a radical departure for Anderson. While certain experimentation occurred in Punch-Drunk Love, There Will Be Blood is the start of the next phase of Anderson’s career, one which reflects a meditative sensibility. For instance, in place of kinetic cinematography, rapid cutting, and multiple narratives are longer takes, extended tracking shots, and a leisurely editing style. Finally, contextualizing Anderson’s career within the era of “Indiewood,” a fusion of studio and independent filmmak...
Exploring the Hypervisibility Paradox:Older Lesbians in ContemporaryMainstream Cinema (1995-2009)
2011 •
Eva Krainitzki
This thesis explores the intersection of age, gender and sexuality in representations of older lesbian characters in contemporary narrative film. Taking the 1990s as a benchmark of lesbian visibility, I explore the turn of the century representability by focusing on British and American film (1995 to 2009). I identify a hypervisibility paradox during this period of cinematic production where the presence of a multitude of young lesbian and bisexual characters can be seen to be in complete contrast with the invisibility of the older lesbian. Mainstream postfeminist culture censors the ageing female body, except in its ‘successfully aged’, youthful, heterosexualised form. Older lesbian characters are excluded from this frame of visibility and, instead, are represented through paradigms associated with the concept of ‘ageing as decline.’ There is little in existing age studies or lesbian film studies to articulate an understanding of the intersection of age, gender and sexuality in cin...
Comedy and social change in French cinema 1990-2010 : the rise of the rom-com
2013 •
Mary Harrod
This thesis focuses on the sudden proliferation of a highly popular genre in French cinema over the past two decades. While genre cinema, French and otherwise, and especially comedy have historically been under-examined in France, this study contributes to a gradual shift towards the application of more traditionally Anglophone cultural and gender studies approaches to the analysis of French cinema. It also looks at the question of generic evolution and the relationship between domestic practice and Hollywood paradigms, including the way in which the national cinema is being reconceptualised in the face of an increasingly transnationally conceived film market. Major lines of enquiry thus concern both the rom-com’s French specificity, including the extent to which the genre is ‘naturalised’ and/or exported, and its representational politics, particularly with regard to gender. Is it appropriate to see the rom-com as a feminised genre in France and, if so, in what sense? How does the ...
