| Papers [1-2] of 2 | Search results on "MOVIE MALENA": |
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The Movie Malena, 2005.
This essay looks at the film "Malena" by Giuseppe Tornatore and discusses how the character was shaped by her surrounding culture.
675 words (approx. 2.7 pages), 3 sources, £ 18.95
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Abstract
This paper presents a brief cultural autobiography of the character of Malena, in the film by Giuseppe Tornatore, examining how gender, race, and class shaped the character's life and her choices. The paper discusses the "lesions" that Malena experienced, and looks at how they affected her life, and whether Malena was able to overcome them. The paper looks at whether Malena was somehow transformed by her experiences, and explores the notion of transformation by discussing how she successfully overcame her oppressive forces. The writer discusses, in particular, the tools with which she managed to do this.
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Film Theory, 2002.
Discusses how the theory of spectatorship is used by feminist film theorists.
2,025 words (approx. 8.1 pages), 7 sources, £ 49.95
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Abstract
Discusses how the theory of spectatorship is used by feminist film theorists. Psychoanalytically oriented film theory. Psychological processes involved in the film-viewing experience. Voyeurism and narcissistic identification. The nature of female spectatorship. Analysis of two popular films to illustrate points made: The 1972 "Portnoy's Complaint," and the 2000 "Malena."
From the Paper
"Psychoanalytically oriented film theory became a significant force in the 1970s and has been one of the most productive influences of the past few decades. This is nowhere more true than in feminist theory where, despite theorists' misgivings about the reactionary nature of psychoanalysis, it was instrumental in developing approaches to spectatorship that first accounted for male scopophilia, as the principal pleasure project of classic Hollywood film, and has since been employed in elucidating the nature of female spectatorship. This essay begins with a brief discussion of the tenets of Freud and Lacan that were adapted by film theorists in creating a theory of spectatorship.
This is followed by an explanation of its uses in feminist film theory and a demonstration of the manner in which the psychoanalytic approach informs the analysis of two popular ..."
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