English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  Items with full text/Total items : 113303/144284 (79%)
Visitors : 50795273      Online Users : 360
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
Scope Tips:
  • please add "double quotation mark" for query phrases to get precise results
  • please goto advance search for comprehansive author search
  • Adv. Search
    HomeLoginUploadHelpAboutAdminister Goto mobile version
    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 SizeFormat
    102801.pdf104402KbAdobe PDF2142View/Open


    All items in 政大典藏 are protected by copyright, with all rights reserved.


    社群 sharing

    著作權政策宣告 Copyright Announcement
    1.本網站之數位內容為國立政治大學所收錄之機構典藏,無償提供學術研究與公眾教育等公益性使用,惟仍請適度,合理使用本網站之內容,以尊重著作權人之權益。商業上之利用,則請先取得著作權人之授權。
    The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

    2.本網站之製作,已盡力防止侵害著作權人之權益,如仍發現本網站之數位內容有侵害著作權人權益情事者,請權利人通知本網站維護人員(nccur@nccu.edu.tw),維護人員將立即採取移除該數位著作等補救措施。
    NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - Feedback