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Feminism’s Dependency Trap
September Philosophy Compass. Stanford Encyclopedia of Philosophy. Winter Retrieved May 13, Assumes a standard point of view that is masculine and heterosexual. In Brand, Peggy Z. Feminism and tradition in aesthetics. In Walters, Suzanna Danuta ed. Berkeley, California: University of California Press.
A Female Gaze? Archived PDF from the original on Categories : Feminist terminology Feminist theory Feminism and the arts Film theory.
Kamm University of Kent. Note: this may be subject to minor alterations. Gothic and technology appear, on the surface, to evoke contradictory connotations. Technology, on the other hand, is a term often linked to science, innovation and progressive invention. On the one hand, the novel stands as a canonical Gothic text, and Ellen Moers argues that the story can be defined as the Female Gothic, a term commonly associated with the women-in-peril narratives which later saw the influence of Gothic literature translated onto the cinema screen in Hollywood during the s.
Male gaze - Wikipedia
Our conference aims to explore this relationship between technology and the Gothic by focussing upon its intersection as depicted on screen within visual media, with a specific focus on how such concerns impact on gender representations and, in particular, women. The Hollywood s Gothics possess noticeably excessive convolutions of plot, as with Sleep, My Love , and one could argue this trend has continued in contemporary returns to the Old Dark House and horror with films like Crimson Peak Technology may also be physically present within these Gothic-horror films.
Actual mechanical or technological inventions which impact upon the story may be wide-ranging: the railway, cars, telephones, recording devices, electric light and gaslight are just some examples of technologies integrated into the narratives of Gothic films, often with the intention of contributing to the imperilment and oppression of the central heroine. Tom Gunning demonstrates this when he recounts several versions in early cinema of a woman-in-jeopardy story, Heard Over the Phone , which could almost be Gothic in that the woman is in her own home and menaced there by a male assailant.
More recent Gothic and Gothic-horror films may update these technologies to include computers, the Internet and mobile phones. Technology also includes film and the moving image itself: this conference will explore how filmic technologies mediate and emphasise the connection between technology, the Gothic, and gender, including through the use of visual effects. It is significant to note that the most iconic examples of Gothic films focusing on stories about the victimisation of women, particularly in the s, were directed by men.
By thinking about the technology behind the screen, this event will also consider what influence women filmmakers have had upon this tradition, including within present day, and what further reflections may be offered between this relationship of the Gothic to gender and technology. With this third annual Gothic Feminism conference, we invite scholars to respond to the theme of technology in the woman-in-jeopardy strand of the Gothic and Gothic-horror film or television.
How do these elements intersect with the representation of gender in film and television? Does technology help the female character or is it another agent of terror used against her? How have female filmmakers used the genres of Gothic-horror to express themselves? Please submit proposals of words, along with a short biographical note words to gothicfeminism gmail. We welcome minute conference papers as well as submissions for creative work or practice-as-research including, but not limited to, short films and video essays.
Gothic Feminism explores the representation of the Gothic heroine on-screen in her various incarnations. Botting, Fred.
London and New York: Routledge. Castle, Terry. Oxford: Oxford University Press. Gunning, Tom. Grant, Barry Keith. New York, Chichester: Wallflower Press. Halberstam, Jack. Durham and London: Duke University Press. Leeder, Murray. New York and London: Bloomsbury. Punter, David and Glennis Byron. The Gothic. Oxford: Blackwell Publishing. On the one hand, the novel stands as a canonical Gothic text, and Ellen Moers argues that the story can be defined as the Female Gothic , a term commonly associated with the women-in-peril narratives which later saw the influence of Gothic literature translated onto the cinema screen in Hollywood during the s.
The Hollywood s Gothic s possess noticeably excessive convolutions of plot, as with Sleep, My Love , and one could argue this trend has continued in contemporary returns to the Old Dark House and horror with films like Crimson Peak Technology may also be physically present within these Gothic -horror films. More recent Gothic and Gothic -horror films may update these technologies to include computers, the Internet and mobile phones.
Technology also includes film and the moving image itself: this conference will explore how filmic technologies mediate and emphasise the connection between technology, the Gothic , and gender, including through the use of visual effects. With this third annual Gothic Feminism conference, we invite scholars to respond to the theme of technology in the woman-in-jeopardy strand of the Gothic and Gothic -horror film or television.
How have female filmmakers used the genres of Gothic -horror to express themselves? Please submit proposals of words, along with a short biographical note words to gothic feminism gmail. Conference organisers: Frances A. Kamm and Tamar Jeffers McDonald. Reeve, Clara.
Women′s Cinema, World Cinema
The Old English Baron. Walpole, Horace. The Castle of Otranto. There are a few days left to submit a proposal! Over seven seasons so far , American Horror Story has received massive popular and academic interest for its bold and often apposite reworkings of a wide range of cultural tropes and folk stories, set against uniquely American backgrounds and played out through a distinct cast of characters.
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The series has included many nuanced — and also problematic — representations of sexuality and queer identities, as well as brought into question culturally entrenched issues of heteronormativity and mononormativity. Papers should be between words and the deadline for final submission is 31st January Submissions to this edited collection must focus on the wider theme of gender, sexuality and queerness in American Horror Story.
Topics could include, but are not limited to, critical interrogations of: — The development of queer representation in American popular culture — Intersectionality, imagery and representation: femininity, masculinity, sexuality, disability, ethnicity, class, age, etc. All authors are welcome to submit abstracts: from PhD candidates and early career researchers, to established academics. We look forward to receiving abstracts for consideration. But Revenge is so precise with its gaze, especially in how it portrays the assault and the betrayal that set the action in motion.
It isn't just an unstintingly violent thriller; it's a movie that interrogates the whole rape revenge tradition it's a part of, demanding that we think about why stories that are, in theory, about women reclaiming their agency have been such a regular fixture of exploitation film.
Steve McQueen's Widows is a much darker, higher-stakes heist film than Ocean's 8 , but I found its groundedness more appealing than the other movie's purported escapism. It doesn't surprise me that the studio behind it had no idea how to market it , though. It was a women-led thriller that wasn't all easy sisterhood, with a set of characters who came from different places in terms of race and class, armed with various expectations and resentments.
Why would they be?