Female Agencies and Subjectivities in Film and Television PDF
Preview Female Agencies and Subjectivities in Film and Television
Female Agencies and Subjectivities in Film and Television Edited by Diğdem Sezen · Feride Çiçekoğlu Aslı Tunç · Ebru Thwaites Diken Female Agencies and Subjectivities in Film and Television Digdem Sezen • Feride Çiçekoglu ̆ ̆ Aslı Tunç • Ebru Thwaites Diken Editors Female Agencies and Subjectivities in Film and Television Editors Diğdem Sezen Feride Çiçekoğlu Department of Transmedia, Digital Art Department of Cinema and Animation, School of Computing, Istanbul Bilgi University Engineering & Digital Technologies Istanbul, Turkey Teesside University Middlesbrough, UK Ebru Thwaites Diken Department of Cinema Aslı Tunç Istanbul Bilgi University Department of Media Istanbul, Turkey Istanbul Bilgi University Istanbul, Turkey ISBN 978-3-030-56099-7 ISBN 978-3-030-56100-0 (eBook) https://doi.org/10.1007/978-3-030-56100-0 © The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature Switzerland AG 2020 This work is subject to copyright. 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The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland A cknowledgments Editors would like to give their sincere thanks to Kenan Behzat Sharpe, whose outstanding abilities in copy-editing and proofreading were crucial for the readability of this volume. v c ontents 1 Introduction 1 Diğdem Sezen, Feride Çiçekoğlu, Aslı Tunç, and Ebru Thwaites Diken Part I Women Behind the Camera 9 2 Agnès Varda and the Singular Feminine 11 Colleen Kennedy-Karpat 3 Female Agency in Pelin Esmer Films: The Play (2005) and Queen Lear (2019) 27 Feride Çiçekoğlu 4 The Feminine Indistinction in Susanne Bier’s Cinema: The Brothers (2004), In a Better World (2010), Bird Box (2018) 45 Ebru Thwaites Diken 5 Consuming Bodies, Abject Spaces: Ana Lily Amirpour’s Transcultural Expressionism 65 Joanna Mansbridge vii viii CoNTENTS Part II Women on Screen 85 6 Claire Underwood: Feminist Warrior or Shakespearean Villain? Re-visiting Feminine Evil in House of Cards 87 Aslı Tunç 7 The Phenomenology of Orphan Black as Molecular Politics 107 Luca Barattoni 8 ‘I Will Not Be Bullied into Submission’: Discussing Subjection and Resistance in GLOW (2017) 127 Ayşegül Kesirli Unur and Nilüfer Neslihan Arslan 9 Female Body Language: Cutting, Scarring, and Becoming in HBO’s Sharp Objects 145 Mihaela P. Harper 10 The Strong Female Lead: Postfeminist Representation of Women and Femininity in Netflix Shows 165 Derya Özkan and Deborah Hardt Part III Women in Context and Culture: Representational Struggles Across Genres and Platforms 189 11 The Technological Turn of the Femme Fatale: The Fembot and Alternative Fates 191 Şirin Fulya Erensoy 12 Women Remembering: Gender and Genre in Persona and Happy Valley 209 Kenan Behzat Sharpe 13 Bridal Anxieties: Politics of Gender, Neoconservatism and Daytime TV in Turkey 229 Feyda Sayan-Cengiz CoNTENTS ix 14 International Filmmor Women’s Film Festival on Wheels: “Women’s Cinema, Women’s Resistance, Cinema of Resistance” 249 Nazan Haydari 15 Machine Gaze on Women: How Everyday Machine- Vision-Technologies See Women in Films 271 Diğdem Sezen Index 295 n c otes on ontributors Nilüfer Neslihan Arslan was born in New York, USA, in 1989. She studied Urban and Regional Planning in the Faculty of Architecture at Istanbul Technical University and for six months at Trento University, Italy, through the Erasmus Program. She completed her MA degree in Film Studies at Bahçeşehir University. Her MA thesis is focused on map- ping the multicultural components of Jim Jarmusch’s early films. After working for film programming companies and film festivals, she is cur- rently a Research Assistant at the Department of Film and Television, Istanbul Bilgi University and a Ph.D. student at Media and Communication Studies, Galatasaray University. Luca Barattoni (Ph.D. University of North Carolina—Chapel Hill) is Associate Professor of Italian and World Cinema at Clemson University. Among his publications: Jewish Identities in Latin American Cinema. Special Issue for Post-Script: Essays in Film and the Humanities, 2019 (with Patricia Nuriel); “Edipo Re e lo statuto del soggetto” in Fulvio orsitto and Federico Pacchioni, eds. Pier Paolo Pasolini: Prospettive Americane. Pesaro: Metauro, 2015; Italian Post-Neorealist Cinema, Edinburgh: Edinburgh UP, 2012; “Bergsonian themes and the human condition in Pirandello’s Notebooks of Serafino Gubbio, Cinema Operator” Forum Italicum, 2011. Feride Çiçekoğlu is a professor and director of the master program in film and television at Istanbul Bilgi University. She holds a Ph.D. in archi- tecture from the University of Pennsylvania. The military junta of 1980 in Turkey interrupted her teaching career. She spent four years as a xi xii NoTES oN CoNTRIBUToRS political prisoner after which she adapted her first novella about a child in the prison for the screen and resumed her academic career with film. She has edited and written in collections on digital culture, gender, urbanism, and film. Most recently, she has co-edited The Dubious Case of a Failed Coup: Militarism, Masculinities, and 15 July in Turkey (2019). Şirin Fulya Erensoy completed her Ph.D. in Film and Media Studies at Bahçeşehir University in 2017. Her thesis explores the films of the New French Extremity and their use of the body as a site where social anxieties are played out. Şirin conducts research on short film production in Turkey and video activism as an alternative media practice. She is currently a guest lecturer at Kadir Has University and Istanbul Bilgi University. Şirin has worked as a producer and advisor for international documentaries shooting in Istanbul. She is also the editor and the anchor of the weekly news bul- letin This Week in Turkey on Medyascope TV. Deborah Hardt is a Lecturer in the Cinema and Media Studies Department at Izmir University of Economics. She holds an M.A. in Media Studies from The New School in New York and is a Ph.D. candi- date in Philosophy, Art and Critical Thought at the European Graduate School in Saas-Fee Switzerland. Mihaela P. Harper is Assistant Professor in the Cultures, Civilizations and Ideas Program at Bilkent University in Ankara, Turkey. Her research spans comparative literature and cultural studies with a focus on the ethical and political dimensions of contemporary visual and literary texts. Her work appears in a variety of journals, including Symplokē, the Journal of Modern Literature, and the Slavonic and East European Review, as well as in the edited volumes Crime Fiction as World Literature (2017) and Simulation in Media and Culture: Believing the Hype (2011). She is the co-editor of Bulgarian Literature as World Literature (2020). Nazan Haydari is associate professor of Media Department at Istanbul Bilgi University, Turkey. Her research interests and publications are on radio and women, feminist media, intercultural communication and critical media pedagogy. She holds a Ph.D. in communications from ohio University, United States. She is the co-editor of Case Studies in Intercultural Dialogue by Kendall Hunt. Her recent publications appear in Transnationalizing Radio Research: New Approaches to an old Medium (edited by Golo Föllmer and Alexander Badenoch), The
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