Loading...
|
Please use this identifier to cite or link to this item:
https://nccur.lib.nccu.edu.tw/handle/140.119/146617
|
Title: | 兩性凝視之差異—分析電影《自殺突擊隊》和《猛 禽小隊:小丑女大解放》的哈莉奎因 DIFFERENCES BETWEEN MALE GAZE AND FEMALE GAZE - BASED ON THE ANALYSIS OF THE CHARACTER, HARLEY QUINN, IN THE FILMS SUICIDE SQUAD AND BIRDS OF PREY |
Authors: | 蔡柔俞 Sanjaya, Priscilla Eugenia |
Contributors: | 王淑美 Wang, Sumei 蔡柔俞 Sanjaya, Priscilla Eugenia |
Keywords: | 男性凝視 女性凝視 性別表徵 刻板印象 媒體描繪 客觀化 哈莉奎因 權力動態 male gaze female gaze gender representation stereotypes media portrayal objectification Harley Quinn power dynamics |
Date: | 2023 |
Issue Date: | 2023-08-02 14:14:56 (UTC+8) |
Abstract: | 本論文通過對兩性凝視之差異—分析電影《自殺突擊隊》和《猛 禽小隊:小丑女大解放》的哈莉奎因。這項研究的動機源於媒體中男性目光的持續影響,這往往會延續刻板印象、客觀化和權力失衡。通過檢查這兩部電影中對哈莉奎因的描述, 這項研究旨在揭示男性凝視和女性凝視塑造哈莉奎因形象的不同方式,以及凝視對角色的關鍵差異。
該分析是使用電視分析代碼和三種凝視分析的理論框架進行的,提供了對所起作用的視覺和敘事元素的全面理解。研究結果表明,《自殺突擊隊》中哈莉奎因的形像很大程度上受到男性目光的影響,因為她被性感化、物化,並被定位為被動的慾望對象。相比之下,《猛禽小隊:小丑女大解放》則採用了更加賦權和自我決定的角色形象,擁抱女性視角,強調她的能動性、獨立性和個人成長。本論文通過探討哈莉奎因與男性凝視和女性凝視之間的關係,為媒體中性別表徵的討論做出了貢獻。這項研究的結果強調了超越客觀化並擁抱電影中女性角色更加多樣化和賦權的重要性。 This thesis explores the differences between the male gaze and the female gaze through an analysis of the character Harley Quinn in the films Suicide Squad and Birds of Prey. The motivation for this research stems from the persistent influence of the male gaze in media, which often perpetuates stereotypes, objectification, and power imbalances. By examining the depiction of Harley Quinn in these two films, this research aims to shed light on the distinct ways in which the male gaze and the female gaze shape the portrayal of Harley Quinn and the key differences the gazes have on the character.
The analysis is conducted using the theoretical framework of the codes of television analysis and the three gazes analysis, providing a comprehensive understanding of the visual and narrative elements at play. The findings reveal that the portrayal of Harley Quinn in Suicide Squad is heavily influenced by the male gaze, as she is sexualized, objectified, and positioned as a passive object of desire. In contrast, Birds of Prey adopts a more empowering and self-determined portrayal of the character, embracing the female gaze and emphasizing her agency, independence, and personal growth. This thesis contributes to the discourse on gender representation in media by exploring the portrayal of Harley Quinn in relation to the male gaze and the female gaze. The findings of this research highlight the importance of moving beyond objectification and embracing more diverse and empowering representations of female characters in film. |
Reference: | Acuna, K. (2020). The ‘Birds of Prey’ costume designer walks us through creating some of Harley Quinn’s colorful looks. Insider. https://www.insider.com/birds-of-prey-harley-looks-costume-designer-2020-2
Arlina, T., & Nuraeni, R. (2022). John Fiske’s Semiotic Analysis: Representation of Social Criticism in Pretty Boys. Budapest International Research and Critics Institute-Journal, 5 (2), 15430 - 15440. https://doi.org/10.33258/birci.v5i2.5427
Asghar, J. (2013). Critical Paradigm: A Preamble for Novice Researchers. Life Science Journal, 10 (4), 3121-3127. http://www.lifesciencesite.com.
Ayer, D (Director). (2016), Suicide Squad [Film]. Warner Bros. Pictures.
Batobara, M. (2021). The Image of Woman and the Concept of Male Gaze in George Bernard Shaw’s Arms and the Man. Journal of Arts, Humanities and Social Sciences, 66, 442 - 452. DOI: 10.33193/JALHSS.66.2021.473
Bielby, D., & Bielby, W. (1996). Women and Men in Film: Gender Inequality among Writers in a Culture Industry. Gender and Society, 10(3) , 248 - 270. https://www.jstor.org/stable/189696
Bihlmeyer, J. (2002). Jane Campion’s The Piano: The Female Gaze, the Speculum and the Chora within the H(y)st(e)rical Film. Feminine Politics in Popular Culture: The Construction of Gender, 4(1): 13. https://core.ac.uk/download/pdf/48856719.pdf.
Blum, L. (2004). Stereotypes and Stereotyping: A Moral Analysis. Philosophical Papers, 33(3), 251 - 289. https://philpapers.org/archive/LAWSAS-2.pdf
Bowers, S. (1990). Medusa and the Female Gaze. NWSA Journal, 2 (2), 217-235. https://www.jstor.org/stable/4316018
Brey, I. (2020). The Female Gaze: A Revolution Onscreen. The French Publishers’ Agency: New York.
Burke, L. (2015). The Comic Book Film Adaptation: Exploring Modern Hollywood’s Leading Gender. Jackson: University Press of Mississippi.
Burns, A. (2009). Action, Romance, or Science Fiction: Your Favorite Movie Genre May Affect Your Communication. American Communication Journal, 11(4), 1-17. https://ac-journal.org/journal/2009/Winter/Articles/110404%20Action,%20Romance,%20Science%20Fiction.pdf
Cohen, P. (2010). What have Clothes Got to Do with It? Romantic Comedy and the Female Gaze. Southwest Review, 95(1/2), 78 - 88. https://www.jstor.org/stable/43473039
Cripa, J., & Hallak, J. (2012). Dr Harley Quinn, the villain from Gotham City with dependent personality disorder - psychiatry in pictures. The British Journal of Psychology, 200 (4), 267. DOI: https://doi.org/10.1192/bjp.bp.111.102020
Columpar, C. (2002). The Gaze As Theoretical Touchstone: The Intersection of Film Studies, Feminist Theory, and Postcolonial Theory. Women’s Studies Quarterly, 30 (1/2), 25-44. https://www.jstor.org/stable/40004635
Dapolito, M. (2016) A Contemporary Analysis of Action Films with Female Leads. Inquiries Journal, 8(09), http://www.inquiriesjournal.com/a?id=1442
Demir, M., Kaya, L., Turan, M., & Vural Batik, M. (2021). Cinderella Syndrome “Women with Fear of Independence”: Developing a Scale. International Journal of Psychology and Educational Studies, 8(1), 166-173. http://dx.doi.org/10.17220/ijpes.2021.8.1.236
De Vries, D., & Peter, J. (2013). Women on display: The effect of portraying the self online on women’s self-objectification. Computers in Human Behavior, 29 (4), 1483-1489. https://doi.org/10.1016/j.chb.2013.01.015
Dirse, Z (2013). Gender in Cinematography: Female Gaze (Eye) behind the Camera. Journal of Research in Gender Studies, 3(1), 15-29. https://www.proquest.com/docview/1439928160?pq-origsite=gscholar&fromopenview=true
Dowd, J., Crabtree, A., & Cannon, B. (2021): Movies, gender, and social change: the hollywood romance film. Journal of Gender Studies. DOI: 10.1080/09589236.2021.1979479
Eagan, D. (2012). Why Hollywood Loves Comic Books. Smitshsonian. https://www.smithsonianmag.com/arts-culture/why-hollywood-loves-comic-books-81730731/
Ellemers, N. (2018). Gender Stereotypes. Annual Review of Psychology, 69, 275-298. https://doi.org/10.1146/annurev-psych-122216-011719
Ezra, E., & Rowden, T. (2006). Transnational Cinema, The Film Reader. Routledge.
Female Gaze. (2022). What Is The Female Gaze?. The Female Gaze. https://www.thefemalegaze.com/what-is-the-female-gaze/
Fimbianti, R. (2020). “It Wasn’t Made for Him”: Examining Female-Led Superhero Films Wonder Woman and Captain Marvel and the Internet Commentary that Follows. NCUR. http://libjournals.unca.edu/ncur/wp-content/uploads/2021/01/3295-Fimbianti-Rachel-FINAL.pdf
Fiske, J. (1987). Television Culture. London, New York: Routledge.
Fiske, J. (1985). The Semiotics of Television. Critical Studies in Mass Communication, 2:2, 176-183. DOI: 10.1080/15295038509360076
Hays, C. (2019). Shifting the gaze: Exploring young women`s feminist consciousness raising through the female gaze. Available from ProQuest Central; ProQuest Dissertations & Theses A&I; ProQuest Dissertations & Theses Global. https://proxyone.lib.nccu.edu.tw/login?url=https://www.proquest.com/dissertations-theses/shifting-gaze-exploring-young-womens-feminist/docview/2511934314/se-2
Fredrickson, B., & Roberts, T. (1997). Objectification Theory: Toward Understanding Women’s Lived Experiences and Mental Health Risks. Psychology of Women Quarterly, 21, 173-206. DOI: 10.1111/j.1471-6402.1997.tb00108.x
French, L. (2021). The Female Gaze in Documentary Film: An International Perspective. Switzerland: Palgrave Macmillan.
Gallagher, M. (1992). Women and Men in the Media. Communication Research Trends, 12(1), 1-36. http://cscc.scu.edu/trends/v12/V12_1.pdf
Gerbner, G. (1998). Cultivation Analysis: An Overview. Mass Communication & Society, 1(3-4), 175-194. https://doi.org/10.1080/15205436.1998.9677855
Goodall, H. (2012). Media’s Influence on Gender Stereotypes. Media Asia, 39(3), 160-163. DOI: 10.1080/01296612.2012.11689932
Horkheimer, M & Adorno, T. (1944). The Culture Industry. In The Dialectic of Enlightenment. Herder and Herder: New York.
IMDb. (n. d.). Birds of Prey. IMDb. https://www.imdb.com/title/tt7713068/
IMDb. (n. d.). Suicide Squad. IMDb. https://www.imdb.com/title/tt1386697/
Jacobsson, E. (1999). “A Female Gaze?”. KTH Royal Institute of Technology, CID-51. http://www.nada.kth.se/cid
Jafar, A. (2019). Wonder Woman, Captain Marvel and the Power of Gender Stereotypes. Ms Magazine. https://msmagazine.com/2019/04/03/wonder-woman-captain-marvel-and-the-power-of-gender-stereotypes/
K, A., & Chithra, G. (2022). Of Castration Anxiety and Hypersexualized Female Bodies: A Critical Assessment of the Objectifying Gaze in Batman: Arkham Video Game Series. Theory and Practice in Language Studies, 12 (9), 1921-1929
Kaplan, E. (1983). Women and Film: Both Sides of the Camera. Mathluen & Co.
Khalizah, S., Sikumbang, A., & Harahap, S. (2022). Jhon Fiske Semiotics Analysis In The Theme of Gender Equality in the Film “Mulan”. International Journal of Culture and Social Science, 3 (2), 478-484. http://pcijournal.org/index.php/ijcss/index
Kittredge, K. (2003). Lewd and Notorious: Female Transgression in the Eighteenth Century. University of Michigan Press. https://doi.org/10.3998/mpub.16843
Li, H. (2022). Her Movie’s Enlightenment and Gender Ideologies from the Female Characters in Marvel Films. Advances in Social Science, Education and Humanities Research, 664, 434-438.https://www.atlantis-press.com/article/125975017.pdf
MacKinnon, C, (1987). Feminism Unmodified. Cambridge, Massachusetts, and London, England: Harvard University Press.
McKay, T. (2013). Female Self-Objectification: Causes, Consequences and Prevention. McNair Scholars Research Journal, 6(7), 53-70. https://commons.emich.edu/mcnair/vol6/iss1/7?utm_source=commons.emich.edu%2Fmcnair%2Fvol6%2Fiss1%2F7&utm_medium=PDF&utm_campaign=PDFCoverPages
Modleski, T. (1982) Loving with a Vengeance: Mass Produced Fantasies for Women. London: Methuen.
Moradi, B., & Huang, Y. (2008). Objectification Theory and Psychology of Women: A Decade of Advances and Future Directions. Psychology of Women Quarterly, 32, 377-398. DOI: 10.1111/j.1471-6402.2008.00452.x
Mulvey, L. (1975). Visual Pleasure and Narrative Cinema. Screen, 16 (3), 6-18. https://doi.org/10.1093/screen/16.3.6
Mwedzi, D. (2021). On Subversion: A Critical Assessment of the Male Gaze in Contemporary Film and Video Games. Liberated Arts: a journal for undergraduate research, 8 (1): 5. 1-9. https://ojs.lib.uwo.ca/index.php/lajur
Palys, T. (2008). Purposive sampling. In L. M. Given (Ed.) The Sage Encyclopedia of Qualitative Research Methods. (Vol.2). Sage: Los Angeles.
Price, J. (2020). ‘Suicide Squad’ Director David Ayer Responds to Criticism Over Harley Quinn Portrayal. Complex. https://www.complex.com/pop-culture/2020/04/david-ayer-harley-quinn-sexualized-suicide-squad-criticism-response
Rahmah, S., Setiati, E., Sukmawan, S., & Darihastining, S. (2020). Patriarchal Opression in Kim Ji-Yeong, Born 1982 By Cho Nam Joo: A Feminist Literary Study [Paper Presentation]. World Conference on Gender Studies, KnE Social Sciences. DOI 10.18502/kss.v4i10.7428
Rawden, J. (2020). Suicide Squad’s David Ayer Claps Back at Fans Saying Harley Quinn’s Costume Was Too Sexual. CinemaBlend. https://www.cinemablend.com/news/2496004/suicide-squads-david-ayer-claps-back-at-fans-saying-harley-quinns-costume-was-too-sexual
Regev, R. (2016). Hollywood Works: How Creativity Became Labor in the Studio System. Enterprise & Society, 17(3), 591-617. doi:10.1017/eso.2015.89
Rodman, R. (1997). And Now an Ideology from Our Sponsor: Musical Style and Semiosis in American Television Commercials. College Music Symposium, 37, 21-48. https://www.jstor.org/stable/40374302
Ritland, R. (2018). Visual pleasure from motherhood: Alyssa Milano challenging the male gaze. Media, Culture & Society, 40 (8), 1281-1291. https://doi.org/10.1177/0163443718798902
Schuckmann, P. (1998). Masculinity, the Male Spectator and the Homoerotic Gaze. American Studies, 43 (4), 671-680. https://www.jstor.org/stable/41157425
Seyffer, L. (2017). ‘Wonder Woman’ and the importance of the female gaze. Hypable. https://www.hypable.com/wonder-woman-and-the-importance-of-the-female-gaze/
Sharma, A., & Pathak-Shelat, M. (2017). The Cultivation and Reception Effects of Gendered Images. Göteborg: Nordicom.
Sutton, J., & Austin, Z. (2015). Qualitative Research: Data Collection, Analysis, and Management. The Canadian Journal of Hospital Pharmacy, 68 (3), 226-231. doi: 10.4212/cjhp.v68i3.1456
Turbeville, T. (2016). The Female Justice League: The Misrepresentations of Women in Comic Books. Stylus Knights Write Showcase Special Issue, 71-82. https://cah.ucf.edu/wp-content/uploads/sites/27/2019/10/KWS17_Turberville.pdf
Ward, L., & Grower, P. (2020). Media and the Development of Gender Role Stereotypes. Annual Review of Developmental Psychology. 2, 177-199. https://doi.org/10.1146/annurev-devpsych-051120-010630
Wood, J. (1994). Gendered Media: The Influence of Media on Views of Gender. In Gendered Lives: Communication, Gender, and Culture. Wadsworth Publishing.
Yan, C (Director). (2020). Birds of Prey [Film]. Warner Bros. Pictures. |
Description: | 碩士 國立政治大學 國際傳播英語碩士學位學程(IMICS) 110461028 |
Source URI: | http://thesis.lib.nccu.edu.tw/record/#G0110461028 |
Data Type: | thesis |
Appears in Collections: | [國際傳播英語碩士學程] 學位論文
|
Files in This Item:
File |
Description |
Size | Format | |
102801.pdf | | 104402Kb | Adobe PDF2 | 142 | View/Open |
|
All items in 政大典藏 are protected by copyright, with all rights reserved.
|