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dc.contributor.authorBerry, Ingrid
dc.date.accessioned2023-05-22T21:25:13Z
dc.date.available2023-05-22T21:25:13Z
dc.date.issued2022
dc.identifier.urihttps://hdl.handle.net/10652/5966
dc.description.abstractFor over a century society has shown a huge appetite for Hollywood films. Hollywood films have been successful in reaching a wide and diverse audience. Despite the breadth of exposure, a dominant lens, that of the White heterosexual male prevails over this industry. Over time, conventions in filmmaking have been established that have placed this group in the centre; distancing, objectifying and ultimately dehumanising ‘other’ groups, such as; women, African American, Indigenous, and gender diverse people. Ryan Gosling’s character looks up at a massive hologram of a slim nude woman walking and crouching in slow motion in Blade Runner 2049 (2017), Lost in Translation (2003) opens with a partial shot of Scarlet Johansen’s bottom in underpants as she is lying on a bed, and a close up of Margot Robbie lifting her skirt to reveal her knickers in Bomshell (2019) are some examples that indicate that the ‘male gaze’ term that feminist film theorist Laura Mulvey introduced us to 45 years ago is just as relevant now as ever. Feminist film theorists identify dualisms that exist in the ‘subject’ – ‘object’ style of filmmaking, the power inherent in modes of looking, and the scope of representation of women in films. In my search for ways to put these theories into practice I discovered common concepts in the work of filmmakers such as Agnes Varda, Chantal Akerman and Jane Campion who have successfully disrupted patriarchal film constructs and offered alternative methods of film language. I have created a series of short clips applying techniques from a post-‘male gaze’ framework I have developed based on my practice-led research. The short clips along with my exegesis offer a collection of concepts that dismantle patriarchal film structures and present alternative methods of storytelling through a feminist lens.en_NZ
dc.language.isoenen_NZ
dc.rightsAll rights reserveden_NZ
dc.subjectfilm studiesen_NZ
dc.subjectHollywood filmsen_NZ
dc.subjectmale gazeen_NZ
dc.subjectwomen in filmen_NZ
dc.subjectfeminismen_NZ
dc.titleSeeing our like: Conceptualising a post-‘male gaze’ style of filmmakingen_NZ
dc.typeMasters Thesisen_NZ
dc.rights.holderAuthoren_NZ
thesis.degree.nameMaster of Creative Practiceen_NZ
thesis.degree.levelMastersen_NZ
thesis.degree.grantorUnitec Institute of Technologyen_NZ
dc.subject.marsden360505 Screen mediaen_NZ
dc.subject.marsden440501 Feminist and queer theoryen_NZ
dc.identifier.bibliographicCitationBerry, I. (2022). Seeing our like: Conceptualising a post-‘male gaze’ style of filmmaking (Unpublished document submitted in partial fulfilment of the requirements for the degree of Master of Creative Practice). Unitec Institute of Technology, New Zealand https://hdl.handle.net/10652/5966en_NZ
unitec.pages59en_NZ
dc.contributor.affiliationUnitec Institute of Technologyen_NZ
unitec.publication.placeNew Zealanden_NZ
unitec.advisor.principalWood, Becca
unitec.advisor.associatedWagner, Daniel
unitec.institution.studyareaCreative Practiceen_NZ


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