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Jerome Game 从女性叙事电影中解析性别文化的发展
Jerome Game 从女性叙事电影中解析性别文化的发展
Jérôme Game
哥伦比亚大学教授
哥伦比亚大学电影研究专业教授
莱茵高等艺术学院哲学系终身教授
2010 巴黎美国大学最佳跨学科教师奖
曾出版 7 本著作和发表 60 多篇专业文章
French Studies 等专业期刊审稿人
牛津大学博士生评审团的外部成员
剑桥大学博士生研究生导师
From the late 19th century to the present digital age, film as an art, technology, and social practice has undergone rapid
development on a global scale. Why are dolls given to girls and cars to boys? Why do women earn less than men? How do
we explain their involvement in two-thirds of household chores? Is gender an identity or a constraint? Is power inherently
male? These are some of the many questions that gender studies aim to address. These questions not only make gender
studies one of the most significant fields of academic knowledge in the humanities and social sciences, but over the past 40
years, gender studies have also increasingly become a resource in cultural practices, critical discourse, and political
institutions throughout society. Explore the enigmatic aspects of these questions through an exploration of film, one of the
most influential visual media of the 20th century.
As the visual grammar of cinema gradually becomes central to today's global culture, the concept of gender introduces a
major breakthrough in essentialist views of body, discourse, and identity. For a long time, entrenched inequalities between
men and women, and between heterosexuals and LGBTQI, were seen as natural and therefore politically legitimate. As the
primary tool of cultural representation, cinema first resists and then gradually gives power to various deconstructions of
social roles and values previously assigned to biological and gender differences. It is this transformation that this course
provides a clear and comprehensive overview of.
Required Text & Tools PDF Reading Pack in English provided by the Professor.
课程安排 Schedule
No. Topics
‘On the Importance of Cinema for Gender Studies.’
Lecture 1 → Key-Terms of Gender Studies; Key-Terms of Film Studies; How To
Read A Film; Visual Culture and the Film Industry
‘Body-Politics: From Essentialism to Constructivism.’
Lecture 2 → Mind/Body Dualism; Idealism; Constructivism; Movie Stars;
Actresses and Actors.
‘De-Essentializing Women: Feminism.’
Lecture 3 → Denaturalizing the Feminine; Waves of Feminism; Male Gaze; Female
Gaze.
‘Undoing Gender(s): Gender Studies.’
Lecture 4 → Sex vs. Gender; Deconstructing the Masculine; Representing Genders
in Cinema.
‘Gender Undone: Queer Theory.’
Lecture 5 → Identity as Performance; Bodies in Drag; Gender Fluidity; Politics of
the In Between; Queer Gaze.
‘Ecofeminism and Cinema.’
Lecture 6
→ Ecofeminism; Filmic Representation of Nature and the Anthropocene.
‘Gender, Race Studies and Cinema.’
Lecture 7 → Intersectionality; Ethnic Studies and Filmic Representations of
Gender.
‘Representing Genders: The Case of Chinese Cinema.’
Lecture 8 → Gender Studies in China; Chinese Cinema; Representation of Gender
in Chinese Visual Culture.
‘Gender, IT and Film Culture.’
Lecture 9 → Gender and Gaming Culture; #MeToo and the Film Industry; Social
Networks and Visual Culture.
‘Synthesis and Concluding Remarks: How to Read Films
Lecture 10
Through Gender, and Vice Versa’