Please use this identifier to cite or link to this item: http://scholarbank.nus.edu.sg/handle/10635/53633
Title: The cultural-economic logic of contemporary action heroine cinema: (Post) Feminism, Postmodernism, and the Consumption of Spectacles
Authors: MAO CHENGTING
Keywords: cultural-economic logic, action heroine cinema, feminism, postfeminism, postmodernism, consumption
Issue Date: 23-Jan-2013
Source: MAO CHENGTING (2013-01-23). The cultural-economic logic of contemporary action heroine cinema: (Post) Feminism, Postmodernism, and the Consumption of Spectacles. ScholarBank@NUS Repository.
Abstract: Featuring sexually attractive women as the central action figure, contemporary action heroine cinema has brought opposing interpretations from the feminists and postfeminists. To disentangle the root of their bifurcation, this dissertation intends to look at the extra-textual cultural logic that forms and transforms the way audiences are engaged with the action heroine films now. Navigated by Jean Baudrillard?s theories of postmodernism, particularly of semiurgy, sign value, simulation, implosion, and consumer culture, I argue that watching these films is purely a consumptive process, and a multiple process in which the action heroine cinema is consumed as the composite commodity, as the spectacles of technology, as the spectacles of the heroines? bodies, and as the idea of feminism. In a cultural logic where representations become free-floating media simulacra, any political engagement with the image is thus diluted and invalidated ? a situation that puts feminist engagement with cultural representation in a chaotic dilemma.
URI: http://scholarbank.nus.edu.sg/handle/10635/53633
Appears in Collections:Ph.D Theses (Open)

Show full item record
Files in This Item:
File Description SizeFormatAccess SettingsVersion 
MaoCT.pdf1.61 MBAdobe PDF

OPEN

NoneView/Download

Page view(s)

136
checked on Dec 11, 2017

Download(s)

329
checked on Dec 11, 2017

Google ScholarTM

Check


Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.