Double Indemnities
| dc.contributor.advisor | Tóth, Ágnes | |
| dc.contributor.author | Fejes, Linda | |
| dc.contributor.department | DE--TEK--Bölcsészettudományi Kar | hu_HU |
| dc.date.accessioned | 2013-03-05T15:54:03Z | |
| dc.date.available | 2013-03-05T15:54:03Z | |
| dc.date.created | 2010-04-14 | |
| dc.date.issued | 2013-03-05T15:54:03Z | |
| dc.description.abstract | The consciousness of women began to develop during the Second World War, when women replaced men in employment, and reached a significant stage during the Civil Rights Movement in the 1960s. According to Kathie Sarachild, the phrase “Women’s Liberation” was first used in 1964, which expression was frequently applied in the following years. Yet, in the post-war period, women were manipulated not only by the social rules—which accepted women solely as an ideal wife and mother—but by every form of media they came into contact with. Magazines, radio programs, television series and films all presented an image that women should compare themselves to, having an example of the ideal image and behavior. In this paper I am going to compare two film genres popular in the post-war period, film noir and comedy. I argue that even though the female figures in these moving pictures were extremely different, the conclusion of the films were the same, providing a precedent for both decent and inadequate behavior and a warning about its consequences. The films attempted to manipulate women without them realizing of this action. | hu_HU |
| dc.description.course | angol nyelv és irodalom | hu_HU |
| dc.description.degree | egyetemi | hu_HU |
| dc.format.extent | 79 | hu_HU |
| dc.identifier.uri | http://hdl.handle.net/2437/161263 | |
| dc.language.iso | en | hu_HU |
| dc.rights.access | ip | hu_HU |
| dc.subject | cinema | hu_HU |
| dc.subject | women | hu_HU |
| dc.subject | feminist film criticism | hu_HU |
| dc.subject.dspace | DEENK Témalista::Társadalomtudományok::Társadalomelmélet | hu_HU |
| dc.title | Double Indemnities | hu_HU |
| dc.title.subtitle | Representation of women in Film Noir and Comedy After World War II | hu_HU |
| dc.type | diplomamunka |