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Articles 1 - 3 of 3
Full-Text Articles in Arts and Humanities
The Rise And Fall Of Gilmore Girls' Feminist Legacy, Mckenna Ahlgren
The Rise And Fall Of Gilmore Girls' Feminist Legacy, Mckenna Ahlgren
Honors Theses
This thesis explores the feminist legacy that the television series Gilmore Girls (2000-2007, 2016) built during its original airtime and how its later revival diminished that legacy. Gilmore Girls’ main characters are three generations of women within the Gilmore family, providing a unique opportunity to analyze their feminist identities and characterizations relative to different iterations of feminism. This paper examines how the youngest Gilmore, Rory, is influenced by her mother’s and grandmother’s embodiments of feminism. Their expressions of femininity and sexuality, their approaches to motherhood, and their behaviors in their romantic relationships throughout the series correlate with the predominate feminism …
La Violence Sexuelle Faite Aux Femmes Musulmanes Dans Les Banlieues : Le RôLe Des IdéOlogies Fondamentalistes D’Islam, De La Stigmatisation De L’Homme Musulman Et Du FéMinisme Blanc, Elsa Farooq
Honors Theses
In a post-Harvey Weinstein world, sexual assault and sexual harassment have become a daily conversation around the world; however, frequently missing in this conversation are the voices of minority women. In France, sexual violence against Muslim women in the low-income housing areas called banlieues has been an issue for some time, with factors such as fundamentalist Islam, the stigmatization of Muslim men, and what some have called “white feminism” contributing to the problem as well as to the difficulty of talking about it. Underlying these forces is France’s colonial past, which has shaped how and why sexual violence has become …
"It Came In Little Waves": Feminist Imagery In Chantal Akerman's Je, Tu, Il, Elle +, Staci C. Dubow
"It Came In Little Waves": Feminist Imagery In Chantal Akerman's Je, Tu, Il, Elle +, Staci C. Dubow
Honors Theses
Chantal Akerman writes, “she who seeks shall find, find all too well, and end up clouding her vision with her own preconceptions.”[1] This thesis addresses the films of Chantal Akerman from a theoretical feminist film perspective. There are many lenses through which Akerman’s rich body of work can be viewed, and I would argue that she herself never intended for it to be understood in just one way. I wish to situate Akerman’s films, in particular her 1974 Je, Tu, Il, Elle (1h 30m), within a discourse of other feminist film theorists and makers that were further rooted in …