Document Type : Research Paper

Authors

• Payam Zinalabedini ¹
• Sara Bajgholi ²
• ahmad alasti ³

¹ Payam Zinalabedini, PhD in art research, Kamal Al-Molk Non-Governmental Non-Profit Higher Education Institute, Iran, Noshahr. Iran.

² A Master’s student in Cinema. kamal al molk University, Iran, Noshahr.

³ Associate Professor, College of Fine Arts, University of Tehran, Iran

Abstract

Cinema is one of the tools that republish and establish definitions of gender in society. So it can be assumed that the filmmaker can subvert and conceal these concepts in this way. Chantal Ackerman uses arrangements to consult with feminists and the dominant elite to expose hidden ideological contradictions. It seems permissible for the characters in the film to be challenging the traditional characters and so selecting the most special posts in these fields, by accepting many different norms for women. It is assumed that he wants to show in his works, by the reflecting women in the field of work, family and society, how affect the ideology and discourse of gender the formation of attitudes and perceptions of individuals, its relations and social interactions.This is manifested in the content of these films, feminist theory in postmodern, feminist literature, such as Laura Malloy will be used, and who believes the birth of creativity. There is always a way to change the code, which has become power. These images prove cinematically that the domestic lives of women is an artistic thing. In other words the private lives of women are being destroyed by the forces of history as much as they are living in the political arena. Besides that, unquestioning, unchallenged, and irreversible pressure on women in family roles, such as in prison, is social stupidity. And eventually leads to destruction. This is the kind of violence that can lead to more violence.

Keywords

• Feminism
• Womanpower
• Fetishism
• Women's cinema
• Chantal Akerman