ABSTRACT

As a popular audio-visual outlet, cinema remains an influential cultural artefact with an ubiquitous potentiality for human spatial mapping, meaning-making and attitudes constructing. Research on the perceptional effects of international cinemas before and during the advance of the internet technologically mediated world is noticeably abundant. The sexist filmic representations of women seem to dot many academic works belonging to media and feminist studies. However, space and gender tend to succumb unilaterally to the patriarchal masculinized power in the top-grossed mainstream movies. In particular, this article argues that the local feminist movies allow for gendered spatial reorganization in a way that reconstructs and empowers their voice and agency. Drawing on the theory of feminist intersectionality and politics of home, which accentuates women’s diversities and spatially active consciousness, the present textually analyzed Moroccan feminist movies which are claimed to evolve from a passive genderly spaced depiction of women to a dynamic genderly spacing of their subjectivities.

摘要

作为一种流行的视听方式，电影仍然是一种具有影响力的文化制品，在人类空间映射、意义构建和态度构建方面具有无处不在的潜力。在以互联网技术为媒介的世界发展之前和期间，对国际电影院的感知效应的研究非常丰富。女性的性别歧视电影表现似乎点缀着许多属于媒体和女权主义研究的学术作品。然而，在票房收入最高的主流电影中，空间和性别往往会单方面屈服于父权制男性化的权力。特别是，本文认为，地方女权主义电影允许性别空间重组，以重建和赋予她们的声音和能动性。借鉴女权主义交叉性和家庭政治理论，