Feminist film criticism has recently been expanded, much of which is still at the level of criticism only by impression or failure to harmonize with the aesthetic valuation and only the selected analysis concept is suggested to the individual films. Therefore, this thesis starts with the basis that ...
Feminist film criticism has recently been expanded, much of which is still at the level of criticism only by impression or failure to harmonize with the aesthetic valuation and only the selected analysis concept is suggested to the individual films. Therefore, this thesis starts with the basis that all of the above is the result of a lack of deep discussion about feminist film theory. This lack, therefore, causes the practical uncertain. The purpose of this study is to clarify the whole of feminist film theory with an examination of it's view and methology, and to establish a cognitive formula of Women's cinema and the meaning of practice. Finally, this study tries to establish analytic foundation of feminist film criticism by considering feminist discussion in both side of theory and practice. First I researched feminist criticism in the literature Secondly, I studied feminist film theory chronologically. Finally I examined the aesthetical and political value of Women's cinema priority to women director's texts. Feminist film theory in the 70's began with the analysis of the distorted female image, similar to feminist criticism in literature. Feminist film theory in the 70's, Claire Johnston and Laura Mulvey, following Marjorie Rosen, Molly Haskell. Joan Mellen, theorized a unconscious materials that had been constructed female image in film. They borrowed Psychoanalysis and Structuralism. They led to "reading against the gram" by exposure of spectator's mental participation and of textual absence. Feminist film theory in the 80's started with commentary about the 70's. Therefore, they maintained the (female) spectator's subjectivity and film reading in the context. As they borrowed the Apparatus theory, Teresa do Lauretis and Mary Ann Doane regained the spectator's subjectivity that had been excluded from psychoanalytic respect. In the 90's. female representation in film doesn't deal exclusively the concept of sexual difference anymore. Gender isn't the main division anymore, and female subjectivity is converted to social object, which determines sex, race, religion and class complexly. Postcolonialism feminist film theory tries to speak for the position of the women in the third world, the coloured and a miniority race. The main argument points are different on different times, but it's same to emphasize Women's cinema as practice. After examination of a total of 98 women directors. I chose texts depend on "the four steps of the search of women writer" by Elaine Schowalter. Those texts are by Kathryn Bigelow, Jane Campion, Sally Potter � Marleen Gorris. As the result of analysis, it was found that Women's cinema has specfic value in the political and aesthetical way. But all aesthetical value in those analysed texts are not only Women's cinema, because those are not different with the aesthetical experiments of alternative film or counter cinema, which have been done since the 60's. Therefore Women's cinema should be emphasized in the political meaning, a narrative. In other words, it should find out the original reason of women's oppression, disclose the affects and suggest an alternative model. This article is limited, however in that only a few texts were analysed. A study should also be done Asian and third world's nations that have specific socio-historical situtations.
Feminist film criticism has recently been expanded, much of which is still at the level of criticism only by impression or failure to harmonize with the aesthetic valuation and only the selected analysis concept is suggested to the individual films. Therefore, this thesis starts with the basis that all of the above is the result of a lack of deep discussion about feminist film theory. This lack, therefore, causes the practical uncertain. The purpose of this study is to clarify the whole of feminist film theory with an examination of it's view and methology, and to establish a cognitive formula of Women's cinema and the meaning of practice. Finally, this study tries to establish analytic foundation of feminist film criticism by considering feminist discussion in both side of theory and practice. First I researched feminist criticism in the literature Secondly, I studied feminist film theory chronologically. Finally I examined the aesthetical and political value of Women's cinema priority to women director's texts. Feminist film theory in the 70's began with the analysis of the distorted female image, similar to feminist criticism in literature. Feminist film theory in the 70's, Claire Johnston and Laura Mulvey, following Marjorie Rosen, Molly Haskell. Joan Mellen, theorized a unconscious materials that had been constructed female image in film. They borrowed Psychoanalysis and Structuralism. They led to "reading against the gram" by exposure of spectator's mental participation and of textual absence. Feminist film theory in the 80's started with commentary about the 70's. Therefore, they maintained the (female) spectator's subjectivity and film reading in the context. As they borrowed the Apparatus theory, Teresa do Lauretis and Mary Ann Doane regained the spectator's subjectivity that had been excluded from psychoanalytic respect. In the 90's. female representation in film doesn't deal exclusively the concept of sexual difference anymore. Gender isn't the main division anymore, and female subjectivity is converted to social object, which determines sex, race, religion and class complexly. Postcolonialism feminist film theory tries to speak for the position of the women in the third world, the coloured and a miniority race. The main argument points are different on different times, but it's same to emphasize Women's cinema as practice. After examination of a total of 98 women directors. I chose texts depend on "the four steps of the search of women writer" by Elaine Schowalter. Those texts are by Kathryn Bigelow, Jane Campion, Sally Potter � Marleen Gorris. As the result of analysis, it was found that Women's cinema has specfic value in the political and aesthetical way. But all aesthetical value in those analysed texts are not only Women's cinema, because those are not different with the aesthetical experiments of alternative film or counter cinema, which have been done since the 60's. Therefore Women's cinema should be emphasized in the political meaning, a narrative. In other words, it should find out the original reason of women's oppression, disclose the affects and suggest an alternative model. This article is limited, however in that only a few texts were analysed. A study should also be done Asian and third world's nations that have specific socio-historical situtations.
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