Film and Media Studies Commons^™

La Sensibilidad De La Lente Crítica: Las Dinámicas De Poder Y Los Papeles De Género En El Cine Mexicano Contemporáneo, China Campagnuolo

Honors Theses

This project explores the socio-cultural evolution of gender dynamics through the analysis of four contemporary Mexican films: Amores perros (2000) directed by Alejandro González Iñárritu, Y tu mamá también (2001) directed by Alfonso Cuarón, Las elegidas (2015) directed by David Pablos, and Roma (2018) also directed by Cuarón. These directors are part ofMexico’s cinematic “New Wave,” a modern resurgence of Mexican film that depicts a realistic side of the nation’s political, social, and economic issues. In the opening chapter, I analyzeAmores perros and Y tu mamá también, two earlier films of the “New Wave.” These movies areheavily focused on toxic …

Acting Hysterical: Analyzing The Construction, Diagnosis And Portrayal Of Historical And Modern Hysterical Women, Gillian Singer

Honors Theses

Hysterical women’s stories from the 19th and 20th centuries have all too often been ignored and furthermore, invalidated through the capitalization and spectacularization of hysterical women’s experiences. “Acting Hysterical: Analyzing the Construction, Diagnosis and Portrayal of Historical and Modern ‘Hysterical’ Women” aims to acknowledge hysterical women’s narratives by studying the visual documentation of hysterical women. Visual documentation of hysteria began with the photographing of Dr. Jean-Martin Charcot’s “hysterical” female patients and extends to modern cinematic representations from the last two decades of historical and modern hysterical women.

Medical Muses, a book based in years of research by Asti Hustvedt served …

"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 …

Acting The Part: How Audience Problematizes Butlerian Performativity In The Films Of Darren Aronofsky Kathryn Bigelow And Lars Van Trier, Ryan Semerad

Honors Theses

Feminist and gender studies critics laud Judith Butler’s theory of the performative construction of identity because of its capacity to liberate gender from the biological essentialism entailed by previous identity theories. In this thesis, I show how six twenty-first century films demonstrate the importance and problematic nature of ‘audience’ in the performative construction of identity. Each film employs a dialectic model between their protagonists and the reception they receive from diegetic audiences within the film to describe performativity. Black Swan (2010) and The Wrestler (2008) demonstrate how performative identities require an audience to legitimize them. Antichrist (2009) and The Hurt …