Advances in Social Behavior Research

Advances in Social Behavior Research

Vol. 3, 01 March 2023


Open Access | Article

Feminine Body Writing in “Untitled Film Stills”

Xuannan Lin * 1
1 Department of Chinese Culture, The Hong Kong Polytechnic University, Kowloon, Hong Kong 999077,China

* Author to whom correspondence should be addressed.

Advances in Social Behavior Research, Vol. 3, 516-522
Published 01 March 2023. © 2023 The Author(s). Published by EWA Publishing
This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
Citation Xuannan Lin. Feminine Body Writing in “Untitled Film Stills”. LNEP (2023) Vol. 3: 516-522. DOI: 10.54254/2753-7048/3/2022576.

Abstract

With the rise of postmodernism in the Western world, the development of feminism has gradually revealed the characteristics of postmodernism. Among them, feminine body writing is a good example. However, the academia does not pay much attention to body writing in photography art, which gives some research space for this paper. Therefore, this paper studies Cindy Sherman’s “Untitled Film Stills” and uses the theory of feminine body writing which is proposed by Hélène Cixous in “The Laugh of the Medusa” to explore what Sherman wants to suggest about feminism in “Untitled Film Stills”. The study has shown that, Cindy Sherman combines feminine body writing with photography, and uses self-direction and selfie to display women trapped in the male gaze, which show her awakening feminine consciousness and her satire on patriarchy. Sherman’s photographic works play an essential part in the development of feminism.

Keywords

photography., Cindy Sherman, Hélène Cixous, feminine body writing, feminism

References

1. Hélène Cixous, Keith Cohen and Paula Cohen. (1976) The Laugh of the Medusa. Signs, Volume 1, No.4, 875-893. Retrieved from https://www.jstor.org/stable/3173239

2. Ruiqi Liu. (2004)Negative development: the female photographer dress up selfie like. Far Current Press, Taibei.

3. Gongbo Zhao. (2010)Cindy Sherman. Jilin Fine Arts Publishing House, Changchun.

4. Rosalind Krauss. (1993) Cindy Sherman 1975-1993. Rizzoli, New York.

5. Laura Mulvey. (1996) Fetishism and Curiosity. Indiana University Press, Bloomington.

6. Simone De Beauvoir. (2011) The Second Sex. Knopf Publish Group, New York.

7. Tara Westover. (2018) Educated: A Memoir. Random House US, New York.

8. Zaiko, Vanda, Miriam Leonard. (2012) Laughing with Medusa: Classical Myth and Feminist Thought. Oxford University Press, 1-20.

9. Paul Moorhouse. (2014) Cindy Sherman. Phaidon, London.

10. Georgina Colby. (2012) Radical Interiors: Cindy Sherman's ‘Sex Pictures’ and Kathy Acker’s My Mother: Demonology. Women: A Cultural Review, Volume 23, Issue 2, 182-200.

11. Ackerman J. Luca, et al. (2016) Cindy Sherman: A Play of Selves. A collaborative approach to conservation. Studies in Conservation, Volume 61, Issue sup2, 1-6.

12. Pamela Church Gibson. (2018) Cindy Sherman in a New Millennium: Fashion, Feminism, Art and Ageing. Australian Feminist Studies, Volume 33, Issue 98, 481-497.

13. Cindy Sherman | MoMa. Retrieved from https://www.moma.org/artists/5392.

Data Availability

The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.

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Volume Title
Proceedings of the 3rd International Conference on Educational Innovation and Philosophical Inquiries (ICEIPI 2022), Part II
ISBN (Print)
978-1-915371-09-6
ISBN (Online)
978-1-915371-10-2
Published Date
01 March 2023
Series
Lecture Notes in Education Psychology and Public Media
ISSN (Print)
2753-7048
ISSN (Online)
2753-7056
DOI
10.54254/2753-7048/3/2022576
Copyright
01 March 2023
Open Access
This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited

Copyright © 2023 EWA Publishing. Unless Otherwise Stated