{"title":"一部女权主义电影","authors":"İkbal Bozkurt Avcı, Derya Çetin","doi":"10.4018/978-1-7998-0128-3.CH017","DOIUrl":null,"url":null,"abstract":"Feminist film theory evaluates films by some concepts such as subject positions, narrative closures, and fetishism. This theory suggests that the catharsis of popular films is in the service of the male audience. However, many feminist films centered on women are also made, which are outside the mainstream cinema and reach a considerable amount of viewers. This study aims to evaluate Caramel (Nadine Labaki, 2007) by the concepts of feminist film theory. The film expresses a country dominated by taboos through these five women.","PeriodicalId":186144,"journal":{"name":"Advances in Media, Entertainment, and the Arts","volume":"47 2 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"A Feminist Film\",\"authors\":\"İkbal Bozkurt Avcı, Derya Çetin\",\"doi\":\"10.4018/978-1-7998-0128-3.CH017\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Feminist film theory evaluates films by some concepts such as subject positions, narrative closures, and fetishism. This theory suggests that the catharsis of popular films is in the service of the male audience. However, many feminist films centered on women are also made, which are outside the mainstream cinema and reach a considerable amount of viewers. This study aims to evaluate Caramel (Nadine Labaki, 2007) by the concepts of feminist film theory. The film expresses a country dominated by taboos through these five women.\",\"PeriodicalId\":186144,\"journal\":{\"name\":\"Advances in Media, Entertainment, and the Arts\",\"volume\":\"47 2 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"1900-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Advances in Media, Entertainment, and the Arts\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.4018/978-1-7998-0128-3.CH017\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Advances in Media, Entertainment, and the Arts","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.4018/978-1-7998-0128-3.CH017","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Feminist film theory evaluates films by some concepts such as subject positions, narrative closures, and fetishism. This theory suggests that the catharsis of popular films is in the service of the male audience. However, many feminist films centered on women are also made, which are outside the mainstream cinema and reach a considerable amount of viewers. This study aims to evaluate Caramel (Nadine Labaki, 2007) by the concepts of feminist film theory. The film expresses a country dominated by taboos through these five women.
求助内容：
应助结果提醒方式：
京公网安备 11010802042870号
