Document Type : Research Paper
Authors
1 Faculty of Art and Architecture, University of Shiraz, Shiraz, Iran.
2 Assistant Professor, Faculty of Art and Architecture, University of Shiraz, Shiraz, Iran
Abstract
As public consciousness regarding gender issues continues to expand and efforts to promote gender equality intensify, the concept of constructive discrimination within the realm of cinema—particularly at the Oscars, which is regarded as the preeminent accolade in the global film industry—has emerged as an approach to further highlight women’s concerns and their representation. As a result, movies surrounding women have made significant appearances in different Oscar categories in recent years. This research seeks to answer this question “Do women-led films serve as an opportunity to enhance the visibility of women, or do they merely function as a façade for the perpetuation of patriarchal hegemony?” Feminist film theory conceptualizes cinema as a gendered medium that possesses the capacity to either challenge gender stereotypes or reinforce them. According to this theory, one should transcend the superficial content of movies and engage in a thorough analysis of the characterization, as well as the visual and auditory frameworks, in addition to the narrative structure. Therefore, four women-centric movies (Blonde, Women Talking, Poor Things, and Anatomy of a Fall) have been selected from the 2023 and 2024 Oscars, coinciding with the period during which this research is being undertaken. These films will be examined through the lens of three significant criteria of feminist film theory. The results of this research demonstrate that, notwithstanding the recent advancements in gender awareness, there exist films that, while ostensibly aiming to depict women as social subjects, simultaneously perpetuate patriarchal hegemony through subtle mechanisms. This internalization is often obscured by superficial narratives that purport to critique traditional gender roles.
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