A study of the female image in the Egyptian cinema. (c1980)

1980 ◽  
Author(s):  
Ekram Zarwi
Keyword(s):  
Female Image ◽  
Egyptian Cinema

Egyptian cinema and television: Dancing and the female image

1996 ◽  
Vol 8 (2-4) ◽  
pp. 267-285 ◽  
Author(s):  
Marjorie A. Franken
Keyword(s):  
Female Image ◽  
Egyptian Cinema

‘Look at Me’, I’m femininity: The female persona in 1970s musical theatre

2020 ◽  
Vol 14 (3) ◽  
pp. 321-330 ◽  
Author(s):  
Samantha Lampe
Keyword(s):  
Musical Theatre ◽  
Women's Liberation ◽  
Simone De Beauvoir ◽  
Female Representation ◽  
Public And Private ◽  
Women's Liberation Movement ◽  
Betty Friedan ◽  
Liberation Movement ◽  
Women’S Liberation ◽  
Female Image

As the Women’s Liberation Movement developed in the 1970s, women challenged society’s limited female representation as either the Madonna or the whore. Musicals in the 1970s, including Grease (1972), Chicago (1975) and Evita (1979), complicated the female image through the juxtaposition of feminine stereotypes in the heroine’s persona. With each of the shows centralizing the plot around analysing the contradictory feminine image, the women perform in both public and private settings, along with other characters critiquing their personas. From feminist protesters to the writings of Simone de Beauvoir and Betty Friedan, Sandy, Roxie and Eva reflect the requests of contemporary women to display their gender as something beyond the perceived dichotomy of Madonna or whore in their music performances.

scholarly journals Advertising Gender Performance: How Femvertising Represents Women

Inter ◽  
2021 ◽  
Vol 13 (1) ◽  
pp. 63-88
Author(s):  
Elizaveta Panarina
Keyword(s):  
Gender Stereotypes ◽  
Social Problems ◽  
Domestic Work ◽  
Female Gender ◽  
Gender Performance ◽  
Communication Strategy ◽  
Gender Representations ◽  
Self Confidence ◽  
Female Image ◽  
New Generation

The article analyzes the phenomenon of femvertising as a marketing and communication strategy aimed at women, ideologically inspired by feminisms, destroying gender stereotypes. It is contrasted with advertisements that exploit the female image, sexualize women or show women in the context of only domestic work. Based on the works of E. Becker-Herbie, M. Mendenez, K. Linder, as well as I. Goffman, the article analyzes female gender displays in advertising for the Russian audience. The repertoire of analyzed gender representations in advertising demonstrates the content of femvertising: from a set of social problems that oppress women to a broadcast discourse of strength, independence, solidarity and self-confidence. The question that remains open is whether femvertising can sell as well as it can mobilize a new generation of forward thinking.

scholarly journals Образ материнской любви в фильме Трясина Григория Чухрая*

2018 ◽  
Vol 166 ◽  
pp. 99-107
Author(s):  
Shino Maeda
Keyword(s):  
National Identity ◽  
Gender Roles ◽  
Reproductive Function ◽  
The Other ◽  
The Public ◽  
Other Hand ◽  
Female Image ◽  
Great Patriotic War ◽  
Soviet Russia ◽  
The Military

Image of maternal love in Grigory Chukhray’s The QuagmireMemories of the Great Patriotic War contributed to the making of a national identity in Soviet Russia, and clear gender roles are evident in Soviet propaganda war art. The image of male soldiers demonstrates the obligation to defend the fatherland against the outside enemy. On the other hand, there are images of a mother cheering for her son or a mother lamenting over a fallen soldier. It is clear that the female image belongs to the reproductive function of motherhood. The establishment presents an ideal and urges the public to internalize it by themselves. Grigory Chukhray’s film The Quagmire’s 1977 mother, however, hides her young son, who was conscripted to the front. The  film casts doubt on the Soviet war myth and asks “Why do mothers have to be reconciled to lose their sons in order to defend the fatherland?” That’s why the military purged the film from the screen. Obraz miłości macierzyńskiej w filmie Grigorija Czuchraja TrzęsawiskoWspomnienia i obrazy Wielkiej Wojny Ojczyźnianej odegrały ważną rolę w kształtowaniu tożsamości obywateli Rosji Radzieckiej. W sowieckiej propagandzie wojennej wyraźnie widać hierarchię genderową. Wizerunek żołnierza mężczyzny odnosi się do obowiązku obrony ojczyzny przed zewnętrznym wrogiem. Natomiast wizerunek matki wiwatującej na cześć zwycięstwa syna lub rodzicielki lamentującej nad poległym żołnierzem kojarzony jest z macierzyństwem. Film Grigorija Czuchraja Trzęsawisko Трясина opowiada historię matki ukrywającej powołanego do wojska i wezwanego na front syna. Film, który wkrótce po premierze wycofano z  dystrybucji, stawia pytania dotyczące funkcjonowania radzieckich mitów wojennych oraz sytuacji kobiet, które nie chcą się pogodzić ze śmiercią swych synów broniących ojczyzny.

RELASI DAN EKSISTENSI LAKI-LAKI DAN PEREMPUAN SEBAGAI GAMBAR RUPA ALLAH MENURUT KEJADIAN 1:26-28

2018 ◽  
Vol 2 (2) ◽  
pp. 34-44
Author(s):  
Grecetinovitria Merliana Butar-butar
Keyword(s):  
Image Of God ◽  
Men And Women ◽  
Female Image ◽  
The Image Of God ◽  
The Ideal

Abstract The P Source tells us that God created man in His image and likeness (Gen 1: 26-27), which makes man different from other creations. In understanding the position of men and women, it is necessary to understand the great difference between the ideal picture (perspective) and the factual state. By that difference, this becomes the background of this research, the writer uses method Library Researc method and build a hypothesis "man and women as the Image of God is the ideal relationship embodied in its duties and responsibilities ". Keywords: Male, Female, Image of God.

Deconstructing the Other’s Other: Analyzing the Chinese Female Image in the Film Saving Face

Film Matters ◽  
2021 ◽  
Vol 12 (1) ◽  
pp. 93-100
Author(s):  
Chuyi Zhang
Keyword(s):  
Chinese Women ◽  
Postcolonial Studies ◽  
The Other ◽  
American Film ◽  
Female Characters ◽  
Global Order ◽  
The Past ◽  
Female Image ◽  
Saving Face ◽  
International Status

The image of Chinese women portrayed in American films is essentially the West’s imagination of China, conveyed by the female body and constructed in the Orientalist discourse. Over the past one hundred years, Chinese women have been primarily depicted as docile, weak, submissive, voiceless, and in need of being rescued and guided by Occidentals. With the evolution of the global order and the rise of China’s international status, the silent Orient has taken the initiative to resist and reshape this voiceless, “other-ed” image. This article aims to focus on the female characters in Saving Face, an American film directed by Chinese American director Alice Wu in 2004, and analyzes how the director reverses the stereotyped Chinese female image based on the theoretical framework of Orientalism and postcolonial studies, not only “the other” with regards to men, but also “the other” as to the Occident, thus dismantling long-held misreadings of China.

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