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Queer Coding of Barbie Movies: Mattel's Attempt at Saving Barbie's Image.
Hansen, Alicja Sirkka ; Helman, Ivy Ann (advisor) ; Kolářová, Kateřina (referee)
This thesis is a combination of queer analysis of selected Barbie movies done by the author, with the support of the relevant academic literature, and queer readings of those same movies done by people online. The text starts with an introduction, which gives the reader an overview of the subject and introduces the main research question: "Why does Barbie seem queer in the movies?" Then the thesis discusses the relevant theoretical literature and methods used in the study in the literature review and methodology sections respectively, which includes theories such as feminist and queer theory, but also touching on postfeminism and girl power. Further, the main portion of the study is the analysis, preceded by a preface, which consists of seven chapters, each one focusing on a separate movie. Lastly, all of the results of this study are explained in conclusion.
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"We're here, we're queer, get used to it!" Representation of Particular Isssues of LGBT+ Community in TV Series after 2000
SKALÁK, Pavel
The diploma thesis focuses on selected specific issues that LGBTQ people (lesbians, gays, bisexuals, transsexuals, and other queer people) face due to their different non- heteronormative sexual and gender identities. Attention is paid specifically to issues of discrimination, stereotyping, partnership (marriage vs. registered partnership), parenthood, attributed promiscuity, and HIV / AIDS. The author focuses on fiction series broadcast between 2000 and 2021, which deals with queer topis and includes LGBTQ characters in the main or supporting roles, focusing on ways of depicting these characters and reflecting on selected issues they experience due to their identity. In foreign series such as Glee, Modern Family, Orange Is the New Black, Pose, Tales of the City, Sex Education, The Politician, It's a Sin and in the Czech series Ulice and MOST! the ways in which the series presents LGBTQ characters are analysed, in what discourse they are talked about and what effect these depictions may have on the majority heterosexual cisgender viewer. The thesis also provides an overview of the most common narrative archetypes of LGBTQ characters appearing in media production. These are also supplemented by examples of characters from the series of the last 20 years. Through a critical analysis of selected series and their reception, the author tries to point out the importance of portraying people with different sexual and gender identities and the influence of this television representation on the formation of opinions and attitudes towards LGBTQ people.
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Sexual Identity as Cinematic Subversion: the Discourse of New Queer Cinema
Kajánková, Lucia ; Hanáková, Petra (advisor) ; Bláhová, Jindřiška (referee)
The thesis proposes the New Queer Cinema chapter of film history as a paradigm of queer film's subversive practices. The theoretically and historically focused first part establishes the term queer, expounds its possible applications to film in the realm of queer film studies and in the third chapter critically introduces the 'new wave' of queer film New Queer Cinema. The analytical part assigns queer and its possible functions as its basis for inquiry. It consists of two parts: the first performs the formal-content analysis of the pivotal film Swoon (1992); the final chapter builds on its conclusions and examines the corpus of New Queer Cinema films along four analytical cuts in order to describe how they produce the queer discourse. The final output of the thesis is an open model of prospective approaches to queer film.
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Sexual Identity as Cinematic Subversion: the Discourse of New Queer Cinema
Kajánková, Lucia ; Hanáková, Petra (advisor) ; Bláhová, Jindřiška (referee)
The thesis proposes the New Queer Cinema chapter of film history as a paradigm of queer film's subversive practices. The theoretically and historically focused first part establishes the term queer, expounds its possible applications to film in the realm of queer film studies and in the third chapter critically introduces the 'new wave' of queer film New Queer Cinema. The analytical part assigns queer and its possible functions as its basis for inquiry. It consists of two parts: the first performs the formal-content analysis of the pivotal film Swoon (1992); the final chapter builds on its conclusions and examines the corpus of New Queer Cinema films along four analytical cuts in order to describe how they produce the queer discourse. The final output of the thesis is an open model of prospective approaches to queer film.
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