Clary Fray's Femininity and Masculinity the Main Female Character in Cassandra Clare’S Novel "The Mortal Instruments: City of Bones"
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Bippity-Boppity-Boo!; Becoming a Princess at Fairytale Land”
Culture | Volume 1 Issue 1 | May 2017 13 Gina Jibran Once upon a time becoming a princess occurred only when marrying a prince. Nowadays, the yearning to become a princess satisfies more than obtaining the status. Pretending to be a princess is seen to be just as fulfilling. What is it about being a princess that brings contentment? Specifically, what is it about wearing an oversized dress and a tiara that makes life more fascinating for young girls? Disney fairytales such as Snow White and Cinderella have helped popularize the motif of princesses. Girls can buy Cinderella costumes or visit their favourite princess at Disneyland. This helps create the notion that becoming a princess is something to be desired. It is important to note, that life as a princess is hardly ever visited in stories such as Grimm’s Little Snow‐White, or even Disney’s Cinderella. In fact, these tales end right after a girl marries prince charming and obtains the princess status. The sole insight readers gain about life as a princess is that, ‘they lived happily ever after’—a sentence stated at the end of many Disney fairytales. The company Fairytale Land, demonstrates how contemporary society recreates the princess motif. The ability to facilitate the transformation of a young girl to become a princess is promoted at Fairytale Land. Fairytale Land, however, distorts Disney’s focus on becoming a princess into a process whereby young girls are allowed to live that life of luxury. In the focus on being a princess, one then fixates on contemporary female ideals of beauty. -
Exploring the Relationship Between Skin Tone and Self-Esteem Among Females in South Asian Families in India: a Multigenerational Comparison
Exploring the Relationship between Skin Tone and Self-Esteem Among Females in South Asian Families in India: A Multigenerational Comparison by Priya Lena Sharda A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Social Justice Education Ontario Institute for Studies in Education University of Toronto © Copyright by Priya Lena Sharda, 2020 i Exploring the Relationship Between Skin Tone and Self-Esteem Among Females in South Asian Families in India: A Multigenerational Comparison Priya Lena Sharda Doctor of Philosophy Graduate Department of Social Justice Education University of Toronto 2020 Abstract Colourism or skin colour stratification is a persistent dilemma for people in India. Socially and culturally constructed definitions of beauty based on skin tone, represent Western realities and continue to sustain beauty ideals that shape the beliefs and practices around fair skin for women. The study of skin tone and its relationship to self-esteem is essential in expanding upon the limited research examining the intersections between body image and the sociocultural experiences of South Asian Indian women. Against the backdrop of Western hegemony, the research discusses how a fair skin beauty ideal impacts different generations of women in New Delhi. More specifically, investigating the relationship between skin tone and self-esteem among women in South Asian families through a multigenerational comparison, provides a deeper understanding of how skin tone bias is perpetuated, while reinforcing and normalizing white heteropatriarchy. Skin tone bias is disseminated through the family, culture and media. The narratives highlight how skin tone bias manifests itself among adult women in different South Asian family units according to their life stage and membership in the family. -
Spectre, Connoting a Denied That This Was a Reference to the Earlier Films
Key Terms and Consider INTERTEXTUALITY Consider NARRATIVE conventions The white tuxedo intertextually references earlier Bond Behind Bond, image of a man wearing a skeleton mask and films (previous Bonds, including Roger Moore, have worn bone design on his jacket. Skeleton has connotations of Central image, protag- the white tuxedo, however this poster specifically refer- death and danger and the mask is covering up someone’s onist, hero, villain, title, ences Sean Connery in Goldfinger), providing a sense of identity, someone who wishes to remain hidden, someone star appeal, credit block, familiarity, nostalgia and pleasure to fans who recognise lurking in the shadows. It is quite easy to guess that this char- frame, enigma codes, the link. acter would be Propp’s villain and his mask that is reminis- signify, Long shot, facial Bond films have often deliberately referenced earlier films cent of such holidays as Halloween or Day of the Dead means expression, body lan- in the franchise, for example the ‘Bond girl’ emerging he is Bond’s antagonist and no doubt wants to kill him. This guage, colour, enigma from the sea (Ursula Andress in Dr No and Halle Berry in acts as an enigma code for theaudience as we want to find codes. Die Another Day). Daniel Craig also emerged from the sea out who this character is and why he wants Bond. The skele- in Casino Royale, his first outing as Bond, however it was ton also references the title of the film, Spectre, connoting a denied that this was a reference to the earlier films. ghostly, haunting presence from Bond’s past. -
Unbelievable Bodies: Audience Readings of Action Heroines As a Post-Feminist Visual Metaphor
Unbelievable Bodies: Audience Readings of Action Heroines as a Post-Feminist Visual Metaphor Jennifer McClearen A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2013 Committee: Ralina Joseph, Chair LeiLani Nishime Program Authorized to Offer Degree: Communication ©Copyright 2013 Jennifer McClearen Running head: AUDIENCE READINGS OF ACTION HEROINES University of Washington Abstract Unbelievable Bodies: Audience Readings of Action Heroines as a Post-Feminist Visual Metaphor Jennifer McClearen Chair of Supervisory Committee: Associate Professor Ralina Joseph Department of Communication In this paper, I employ a feminist approach to audience research and examine the individual interviews of 11 undergraduate women who regularly watch and enjoy action heroine films. Participants in the study articulate action heroines as visual metaphors for career and academic success and take pleasure in seeing women succeed against adversity. However, they are reluctant to believe that the female bodies onscreen are physically capable of the action they perform when compared with male counterparts—a belief based on post-feminist assumptions of the limits of female physical abilities and the persistent representations of thin action heroines in film. I argue that post-feminist ideology encourages women to imagine action heroines as successful in intellectual arenas; yet, the ideology simultaneously disciplines action heroine bodies to render them unbelievable as physically powerful women. -
'The Whole Burden of Civilisation Has Fallen Upon Us'
‘The Whole Burden of Civilisation Has Fallen upon Us’. The Representation of Gender in Zombie Films, 1968-2013 Leon van Amsterdam Student number: s1141627 Leiden University MA History: Cities, Migration and Global Interdependence Thesis supervisor: Marion Pluskota 2 Contents Chapter 1: Introduction .............................................................................................................. 4 Theory ................................................................................................................................. 6 Literature Review ............................................................................................................... 9 Material ............................................................................................................................ 13 Method ............................................................................................................................. 15 Chapter 2: A history of the zombie and its cultural significance ............................................. 18 Race and gender representations in early zombie films .................................................. 18 The sci-fi zombie and Romero’s ghoulish zombie ............................................................ 22 The loss and return of social anxiety in the zombie genre .............................................. 26 Chapter 3: (Post)feminism in American politics and films ....................................................... 30 Protofeminism ................................................................................................................. -
Abstract Rereading Female Bodies in Little Snow-White
ABSTRACT REREADING FEMALE BODIES IN LITTLE SNOW-WHITE: INDEPENDENCE AND AUTONOMY VERSUS SUBJUGATION AND INVISIBILITY By Dianne Graf In this thesis, the circumstances and events that motivate the Queen to murder Snow-White are reexamined. Instead of confirming the Queen as wicked, she becomes the protagonist. The Queen’s actions reveal her intent to protect her physical autonomy in a patriarchal controlled society, as well as attempting to prevent patriarchy from using Snow-White as their reproductive property. REREADING FEMALE BODIES IN LITTLE SNOW-WHITE: INDEPENDENCE AND AUTONOMY VERSUS SUBJUGATION AND INVISffiILITY by Dianne Graf A Thesis Submitted In Partial Fulfillment of the Requirements For the Degree of Master of Arts-English at The University of Wisconsin Oshkosh Oshkosh WI 54901-8621 December 2008 INTERIM PROVOST AND VICE CHANCELLOR t:::;:;:::.'-H.~"""-"k.. Ad visor t 1.. - )' - i Date Approved Date Approved CCLs~ Member FORMAT APPROVAL 1~-05~ Date Approved ~~ I • ~&1L Member Date Approved _ ......1 .1::>.2,-·_5,",--' ...L.O.LJ?~__ Date Approved To Amanda Dianne Graf, my daughter. ii ACKNOWLEDGEMENTS Thank you Dr. Loren PQ Baybrook, Dr. Karl Boehler, Dr. Christine Roth, Dr. Alan Lareau, and Amelia Winslow Crane for your interest and support in my quest to explore and challenge the fairy tale world. iii TABLE OF CONTENTS Page INTRODUCTION………………………………………………………………… 1 CHAPTER I – BRIEF OVERVIEW OF THE LITERARY FAIRY TALE AND THE TRADITIONAL ANALYSIS OF THE FEMALE CHARACTERS………………..………………………. 3 CHAPTER II – THE QUEEN STEP/MOTHER………………………………….. 19 CHAPTER III – THE OLD PEDDLER WOMAN…………..…………………… 34 CHAPTER IV – SNOW-WHITE…………………………………………….…… 41 CHAPTER V – THE QUEEN’S LAST DANCE…………………………....….... 60 CHAPTER VI – CONCLUSION……………………………………………..…… 67 WORKS CONSULTED………..…………………………….………………..…… 70 iv 1 INTRODUCTION In this thesis, the design, framing, and behaviors of female bodies in Little Snow- White, as recorded by Wilhelm and Jacob Grimm will be analyzed. -
8 Redefining Zorro: Hispanicising the Swashbuckling Hero
Redefining Zorro: Hispanicising the Swashbuckling Hero Victoria Kearley Introduction Such did the theatrical trailer for The Mask of Zorro (Campbell, 1998) proclaim of Antonio Banderas’s performance as the masked adventurer, promising the viewer a sexier and more daring vision of Zorro than they had ever seen before. This paper considers this new image of Zorro and the way in which an iconic figure of modern popular culture was redefined through the performance of Banderas, and the influence of his contemporary star persona, as he became the first Hispanic actor ever to play Zorro in a major Hollywood production. It is my argument that Banderas’s Zorro, transformed from bandit Alejandro Murrieta into the masked hero over the course of the film’s narrative, is necessarily altered from previous incarnations in line with existing Hollywood images of Hispanic masculinity when he is played by a Hispanic actor. I will begin with a short introduction to the screen history of Zorro as a character and outline the action- adventure hero archetype of which he is a prime example. The main body of my argument is organised around a discussion of the employment of three of Hollywood’s most prevalent and enduring Hispanic male types, as defined by Latino film scholar, Charles Ramirez Berg, before concluding with a consideration of how these ultimately serve to redefine the character. Who is Zorro? Zorro was originally created by pulp fiction writer, Johnston McCulley, in 1919 and first immortalised on screen by Douglas Fairbanks in The Mark of Zorro (Niblo, 1920) just a year later. -
Heroism in a Cubicle: the Trappings of the Action Hero in the Anti-Heroic Context of the Office
Heroism in a Cubicle: The Trappings of the Action Hero in the Anti-Heroic Context of the Office. Pia Pandelakis To cite this version: Pia Pandelakis. Heroism in a Cubicle: The Trappings of the Action Hero in the Anti-Heroic Context of the Office.. The Image of the Hero II in Literature, Media, and Society, Society for the Interdisciplinary Study of Social Imagery, Mar 2017, Pueblo, Colorado, United States. hal-01587448 HAL Id: hal-01587448 https://hal-univ-tlse2.archives-ouvertes.fr/hal-01587448 Submitted on 19 Sep 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - ShareAlike| 4.0 International License HEROISM IN A CUBICLE: The Trappings of the Action Hero in the Anti-Heroic Context of the Office Pia Pandelakis Hollywood movies, thanks to the variety of their genres, offer a rich history of the body in action. This 'action' can sometimes be radicalized to become the central element in the film. The term 'actioner' then refers to a specific type of narrative resting on a series of high feats defining male characters as heroes. These principles determine the visibility of the characters' body and heroism is subsequently defined in terms of the spectacle it comes to offer. -
Mature Masculinity and the Ageing Action Hero
Meijer Rebecca Feasey Mature masculinity and the ageing action hero The ageing male action hero is a figure many are familiar with through the character of Bruce Willis in the Die Hard series. However, physical strength, speeds and agility are usually not associated with old age. Whether age makes a difference in the action hero genre is a question Rebecca Feasey deals with in this article. Introduction Much work within the field of film and gender studies has attempted to theorise, unmask and deconstruct the representation of the male action hero, paying particular attention to the spectacular body and the herculean physical performances of characters such as John McClane/Bruce Willis, Martin Riggs/Mel Gibson and Indiana Jones/Harrison Ford. And yet, at a time when these stars are returning to the action roles that made them famous, in some cases, several decades later, scholars continue to ignore and overlook the fundamental notion of age in their discussions of the hard bodied, hegemonic hero. After all, hegemonic masculinity has associations with physical prowess, sexual virility, social dominance and aggression, which are potentially at odds with the image of the ageing male. With this in mind, I propose to examine the representation of the ageing action hero in the popular and long running Die Hard (1988, 1990, 1995, 2007) franchise, and consider the ways in which the mature masculinity on offer is seen to either be confirming to or challenging the hegemonic ideal. Hegemonic masculinity and male hierarchies Although there are a myriad of masculinities in existence at any one moment, this is not to say that each one is treated equally or granted the same level of social, sexual or economic power. -
Copyrighted Material
CHapter 1 ACTION aND ADVENTURE aS GENRE This book explores action and adven- ture as a mode of filmmaking and as a significant genre of American cinema. What we call “action” today has generic roots in a number of surprisingly diverse aspects of Hollywood cinema, from early chase films that crafted suspense to travel films that offered to audiences exotic and fantastic specta- cles of other lands. Making sense of action involves taking account of these diverse origins; conversely, thinking about action as a genre allows us to see those origins in a different way. Action is now a generic descriptor in its own right, one closely linked to adventure cinema; it is widely used to promote and dis- tribute films in theatres and for home use. Yet, however familiar it may now be, this designation is relatively recent. Those earlier Hollywood genres that strongly emphasize action elements – including war movies, Westerns and thrillers – have their own distinct generic his- tories and conventions.COPYRIGHTED It is not my intention hereMATERIAL to suggest we think about all these movies as action, but rather to draw attention to action The Hollywood Action and Adventure Film, First Edition. Yvonne Tasker. © 2015 John Wiley & Sons, Inc. Published 2015 by John Wiley & Sons, Inc. 0002259115.indd 1 1/23/2015 10:56:41 PM and adventure as long established features of Hollywood production as well as that of other national cinemas. In the process we will under- stand the longevity of action movies and how action emerges as a distinct genre during the “New Hollywood” of the 1970s, with its orientation around high concept, pre‐sold blockbusters. -
She-Ra and the Princesses of Power As Queer Monomyth
She-Ra and the Princesses of Power as Queer Monomyth By Paul Thomas* ORCID: 0000-0002-5596-7951 Scheduled to be published as: Thomas, Paul. “She-Ra and the Princesses of Power as Queer Monomyth.” Journal of Popular Culture, vol. 54, no. 5, 2021. Abstract In this essay, the author considers the animated television program She-Ra and the Princesses of Power (2018-20) and argues two main things: First, that the She-Ra reboot can be read as monomythic, and second, that it employs the monomyth while also queering normative understandings of heroic gender and sexuality. The end result is a critical remix that stars a hero—Adora—who can be understood as both queer and monomythic. She-Ra and the Princesses of Power thus stands out from the rest of the pack, serving as a shining example for writers wanting to “rehabilitate” Campbell’s monomyth in our increasingly queer, feminist, and intersectional world. Keywords Gender theory, LGBT, Myth, Popular culture, animation * Paul Thomas is a library specialist at the University of Kansas ([email protected]) as well as a student in the Doctor of Philosophy (Ph.D.) degree program in the School of Library and Information Management, Emporia State University ([email protected]). In 1949, the comparative mythologist Joseph Campbell published The Hero with a Thousand Faces, in which he argued that “the standard path of the … adventure of the hero is a magnification of the formula represented in the rites of passage: separation-initiation-return: which might be named the nuclear unit of the monomyth” (J. -
Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films Through Grotesque Aesthetics
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 9-10-2015 12:00 AM Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics Leah Persaud The University of Western Ontario Supervisor Dr. Angela Borchert The University of Western Ontario Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Leah Persaud 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Comparative Literature Commons Recommended Citation Persaud, Leah, "Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics" (2015). Electronic Thesis and Dissertation Repository. 3244. https://ir.lib.uwo.ca/etd/3244 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. WHO’S THE FAIREST OF THEM ALL? DEFINING AND SUBVERTING THE FEMALE BEAUTY IDEAL IN FAIRY TALE NARRATIVES AND FILMS THROUGH GROTESQUE AESTHETICS (Thesis format: Monograph) by Leah Persaud Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Leah Persaud 2015 Abstract This thesis seeks to explore the ways in which women and beauty are depicted in the fairy tales of Giambattista Basile, the Grimm Brothers, and 21st century fairy tale films.