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Essay / Research Paper Abstract
A 10 page paper which traces how gender identity is critiqued in the films “Girls in Uniform,” “Triumph of the Will,” Germany, Pale Mother,” Marianne and Juliane,” “Orlando,” “Antonia’s Line,” and “Bend It Like Beckham.” Also considered through cinematic analysis is how these films speak to a common theme of women’s experience and take into consideration the parallel developments in women’s history and European history. Bibliography lists 10 sources.
Page Count:
10 pages (~225 words per page)
File: TG15_TGeurfilm.rtf
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Unformatted sample text from the term paper:
powerful influence with its combination of performance, cinematography, editing and music. In Europe, World War I significantly altered geographical, geographical, and cultural landscapes, as filmmakers endeavored to document these
changes while adding their own personal critiques. This was especially true of gender identity, perceptions of which dramatically shift during times of war. While the men are on
the battlefield fighting for a cause, the women are holding down the fort on the home front. Women were enjoying a kind of physical and social independence during wartime
they were denied on the basis of gender during peacetime. But when the conquering warriors returned, women were expected to dutifully return to their passive and largely subservient roles.
After all, European societies were patriarchies, so women as mothers were automatically relegated to second-class status. Several European films - most notably, Girls in Uniform (Madchen in Uniform);
Triumph of the Will; Germany, Pale Mother; Marianne and Juliane; Orlando; Antonias Line (also sometimes known simply as Antonia); and Bend It Like Beckham - critique gender identity, past and
present. Separately, each film offers a unique perspective on gender identity but when considered together, through the filmmakers innovative use of story, mise-en-scene, editing, and music, they collectively provide
a common theme that speaks of the uniqueness of the feminist experience while also demonstrating the developmental parallels between womens history and European history. In 1931, feminist director Leontine Sagan
adapted lesbian author Christa Winsloes play for the screen, and the result was the controversial film, Girls in Uniform, which tells the story of an orphaned teenager, Manuela von Meinhardis,
who is sent to an austere boarding school presided over by a militaristic Prussian headmistress (Madchen in Uniform, 1995). Conditions at the school are oppressive for the girls, which
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