Szerző szerinti böngészés "Papp, Fruzsina Judit"

Megjelenítve 1 - 3 (Összesen 3)
  • Bélyegkép
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    I Want More: Subverting Symbolic Annihilation in Big Little Lies
    Papp, Fruzsina Judit; Bülgözdi, Imola; DE--Bölcsészettudományi Kar
    HBO’s Big Little Lies is the American adaptation of Liane Moriarty’s eponymous novel, which follows the events unfolding among the mothers after a primary school conflict, eventually leading to the murder of Perry, Celeste’s husband. Celeste, along with her friends, Jane, and Madeline, are in the centre of the narrative. In many ways, their situations are similar, although they all embody different approaches to and aspects of traditional gender roles and mothering. As Jane’s son is accused of bullying a classmate, the three women defend Ziggy together, which attitude is then reiterated in the final episode, as all women “draw the lines of allegiance by gender” (Zoller-Seitz, The Vulture) as they stand up to fight their own bully. Throughout season one, which my research focuses on, the women are presented as contemporary counterparts of the white, upper-middle-class women of America in the 1950s, as they all struggle with keeping up the picture-perfect reputation that is expected of them, recalling the frustration that became known as the “problem that has no name” (Friedan, The Feminine Mystique). My claim is that Big Little Lies not only adapts the originally Australian novel to the small screen but also adapts Friedan’s notion to the 21st-century communities. I also focus on the representation of the conventional gender roles and argue that the series offers a new solution to the problem that has no name by subverting the gender roles, culminating in giving agency to the women in passive, victim positions.
  • Nincs kép
    TételSzabadon hozzáférhető
  • Bélyegkép
    TételKorlátozottan hozzáférhető
    Praying in Silence, Silencing Oppression
    Papp, Fruzsina Judit; Bülgözdi, Imola; DE--Bölcsészettudományi Kar
    This thesis examines the representation of oppression in contemporary Western movies: Brimstone (dir. Koolhoven, 2016), and True Grit (dir. Coen brothers, 2010). It also explores the depiction and symbolism utilized regarding religion, and how the characters resist violence, and oppression. The movies analysed in the essay are both revisionist Westerns, therefore they explicitly subvert the tropes and traditions that were used in classical Western movies. This study aims to be a comprehensive analysis of not only on gender relations and silencing, but also on the paradigm shift that can be observed in contemporary Western movies. Through the theoretical background provided by scholars like Susan Kollin or Richard Barsam and David Monahan, the essay focuses on issues presented through narrative techniques and storytelling modes, such as fragmented and framed narratives, repetition, or cyclicality. The films are compared on the basis of silencing and gender-based oppression, but also regarding how gender relations are represented, as they stand for opposing extremes when it comes to women’s role in nineteenth-century America.