1. NCCU Academic Hub
  2. Publications
  3. College of Communication
  4. Theses
  5. Item

Publications-Theses

Article View/Open

Publication Export

Google ScholarTM

NCCU Library

Citation Infomation

Related Publications in TAIR

題名 兩性凝視之差異—分析電影《自殺突擊隊》和《猛 禽小隊:小丑女大解放》的哈莉奎因
DIFFERENCES BETWEEN MALE GAZE AND FEMALE GAZE - BASED ON THE ANALYSIS OF THE CHARACTER, HARLEY QUINN, IN THE FILMS SUICIDE SQUAD AND BIRDS OF PREY
作者 蔡柔俞
Sanjaya, Priscilla Eugenia
貢獻者 王淑美
Wang, Sumei
蔡柔俞
Sanjaya, Priscilla Eugenia
關鍵詞 男性凝視
女性凝視
性別表徵
刻板印象
媒體描繪
客觀化
哈莉奎因
權力動態
male gaze
female gaze
gender representation
stereotypes
media portrayal
objectification
Harley Quinn
power dynamics
日期 2023
上傳時間 2-Aug-2023 14:14:56 (UTC+8)
摘要 本論文通過對兩性凝視之差異—分析電影《自殺突擊隊》和《猛 禽小隊:小丑女大解放》的哈莉奎因。這項研究的動機源於媒體中男性目光的持續影響，這往往會延續刻板印象、客觀化和權力失衡。通過檢查這兩部電影中對哈莉奎因的描述, 這項研究旨在揭示男性凝視和女性凝視塑造哈莉奎因形象的不同方式，以及凝視對角色的關鍵差異。

該分析是使用電視分析代碼和三種凝視分析的理論框架進行的，提供了對所起作用的視覺和敘事元素的全面理解。研究結果表明，《自殺突擊隊》中哈莉奎因的形像很大程度上受到男性目光的影響，因為她被性感化、物化，並被定位為被動的慾望對象。相比之下，《猛禽小隊：小丑女大解放》則採用了更加賦權和自我決定的角色形象，擁抱女性視角，強調她的能動性、獨立性和個人成長。本論文通過探討哈莉奎因與男性凝視和女性凝視之間的關係，為媒體中性別表徵的討論做出了貢獻。這項研究的結果強調了超越客觀化並擁抱電影中女性角色更加多樣化和賦權的重要性。
This thesis explores the differences between the male gaze and the female gaze through an analysis of the character Harley Quinn in the films Suicide Squad and Birds of Prey. The motivation for this research stems from the persistent influence of the male gaze in media, which often perpetuates stereotypes, objectification, and power imbalances. By examining the depiction of Harley Quinn in these two films, this research aims to shed light on the distinct ways in which the male gaze and the female gaze shape the portrayal of Harley Quinn and the key differences the gazes have on the character.

The analysis is conducted using the theoretical framework of the codes of television analysis and the three gazes analysis, providing a comprehensive understanding of the visual and narrative elements at play. The findings reveal that the portrayal of Harley Quinn in Suicide Squad is heavily influenced by the male gaze, as she is sexualized, objectified, and positioned as a passive object of desire. In contrast, Birds of Prey adopts a more empowering and self-determined portrayal of the character, embracing the female gaze and emphasizing her agency, independence, and personal growth. This thesis contributes to the discourse on gender representation in media by exploring the portrayal of Harley Quinn in relation to the male gaze and the female gaze. The findings of this research highlight the importance of moving beyond objectification and embracing more diverse and empowering representations of female characters in film.
參考文獻 Acuna, K. (2020). The ‘Birds of Prey’ costume designer walks us through creating some of Harley Quinn’s colorful looks. Insider. https://www.insider.com/birds-of-prey-harley-looks-costume-designer-2020-2

Arlina, T., & Nuraeni, R. (2022). John Fiske’s Semiotic Analysis: Representation of Social Criticism in Pretty Boys. Budapest International Research and Critics Institute-Journal, 5 (2), 15430 - 15440. https://doi.org/10.33258/birci.v5i2.5427

Asghar, J. (2013). Critical Paradigm: A Preamble for Novice Researchers. Life Science Journal, 10 (4), 3121-3127. http://www.lifesciencesite.com.

Ayer, D (Director). (2016), Suicide Squad [Film]. Warner Bros. Pictures.

Batobara, M. (2021). The Image of Woman and the Concept of Male Gaze in George Bernard Shaw’s Arms and the Man. Journal of Arts, Humanities and Social Sciences, 66, 442 - 452. DOI: 10.33193/JALHSS.66.2021.473

Bielby, D., & Bielby, W. (1996). Women and Men in Film: Gender Inequality among Writers in a Culture Industry. Gender and Society, 10(3) , 248 - 270. https://www.jstor.org/stable/189696

Bihlmeyer, J. (2002). Jane Campion’s The Piano: The Female Gaze, the Speculum and the Chora within the H(y)st(e)rical Film. Feminine Politics in Popular Culture: The Construction of Gender, 4(1): 13. https://core.ac.uk/download/pdf/48856719.pdf.

Blum, L. (2004). Stereotypes and Stereotyping: A Moral Analysis. Philosophical Papers, 33(3), 251 - 289. https://philpapers.org/archive/LAWSAS-2.pdf

Bowers, S. (1990). Medusa and the Female Gaze. NWSA Journal, 2 (2), 217-235. https://www.jstor.org/stable/4316018

Brey, I. (2020). The Female Gaze: A Revolution Onscreen. The French Publishers’ Agency: New York.

Burke, L. (2015). The Comic Book Film Adaptation: Exploring Modern Hollywood’s Leading Gender. Jackson: University Press of Mississippi.

Burns, A. (2009). Action, Romance, or Science Fiction: Your Favorite Movie Genre May Affect Your Communication. American Communication Journal, 11(4), 1-17. https://ac-journal.org/journal/2009/Winter/Articles/110404%20Action,%20Romance,%20Science%20Fiction.pdf

Cohen, P. (2010). What have Clothes Got to Do with It? Romantic Comedy and the Female Gaze. Southwest Review, 95(1/2), 78 - 88. https://www.jstor.org/stable/43473039

Cripa, J., & Hallak, J. (2012). Dr Harley Quinn, the villain from Gotham City with dependent personality disorder - psychiatry in pictures. The British Journal of Psychology, 200 (4), 267. DOI: https://doi.org/10.1192/bjp.bp.111.102020

Columpar, C. (2002). The Gaze As Theoretical Touchstone: The Intersection of Film Studies, Feminist Theory, and Postcolonial Theory. Women’s Studies Quarterly, 30 (1/2), 25-44. https://www.jstor.org/stable/40004635

Dapolito, M. (2016) A Contemporary Analysis of Action Films with Female Leads. Inquiries Journal, 8(09), http://www.inquiriesjournal.com/a?id=1442

Demir, M., Kaya, L., Turan, M., & Vural Batik, M. (2021). Cinderella Syndrome “Women with Fear of Independence”: Developing a Scale. International Journal of Psychology and Educational Studies, 8(1), 166-173. http://dx.doi.org/10.17220/ijpes.2021.8.1.236

De Vries, D., & Peter, J. (2013). Women on display: The effect of portraying the self online on women’s self-objectification. Computers in Human Behavior, 29 (4), 1483-1489. https://doi.org/10.1016/j.chb.2013.01.015

Dirse, Z (2013). Gender in Cinematography: Female Gaze (Eye) behind the Camera. Journal of Research in Gender Studies, 3(1), 15-29. https://www.proquest.com/docview/1439928160?pq-origsite=gscholar&fromopenview=true

Dowd, J., Crabtree, A., & Cannon, B. (2021): Movies, gender, and social change: the hollywood romance film. Journal of Gender Studies. DOI: 10.1080/09589236.2021.1979479

Eagan, D. (2012). Why Hollywood Loves Comic Books. Smitshsonian. https://www.smithsonianmag.com/arts-culture/why-hollywood-loves-comic-books-81730731/

Ellemers, N. (2018). Gender Stereotypes. Annual Review of Psychology, 69, 275-298. https://doi.org/10.1146/annurev-psych-122216-011719

Ezra, E., & Rowden, T. (2006). Transnational Cinema, The Film Reader. Routledge.

Female Gaze. (2022). What Is The Female Gaze?. The Female Gaze. https://www.thefemalegaze.com/what-is-the-female-gaze/

Fimbianti, R. (2020). “It Wasn’t Made for Him”: Examining Female-Led Superhero Films Wonder Woman and Captain Marvel and the Internet Commentary that Follows. NCUR. http://libjournals.unca.edu/ncur/wp-content/uploads/2021/01/3295-Fimbianti-Rachel-FINAL.pdf

Fiske, J. (1987). Television Culture. London, New York: Routledge.

Fiske, J. (1985). The Semiotics of Television. Critical Studies in Mass Communication, 2:2, 176-183. DOI: 10.1080/15295038509360076

Hays, C. (2019). Shifting the gaze: Exploring young women`s feminist consciousness raising through the female gaze. Available from ProQuest Central; ProQuest Dissertations & Theses A&I; ProQuest Dissertations & Theses Global. https://proxyone.lib.nccu.edu.tw/login?url=https://www.proquest.com/dissertations-theses/shifting-gaze-exploring-young-womens-feminist/docview/2511934314/se-2

Fredrickson, B., & Roberts, T. (1997). Objectification Theory: Toward Understanding Women’s Lived Experiences and Mental Health Risks. Psychology of Women Quarterly, 21, 173-206. DOI: 10.1111/j.1471-6402.1997.tb00108.x

French, L. (2021). The Female Gaze in Documentary Film: An International Perspective. Switzerland: Palgrave Macmillan.

Gallagher, M. (1992). Women and Men in the Media. Communication Research Trends, 12(1), 1-36. http://cscc.scu.edu/trends/v12/V12_1.pdf

Gerbner, G. (1998). Cultivation Analysis: An Overview. Mass Communication & Society, 1(3-4), 175-194. https://doi.org/10.1080/15205436.1998.9677855

Goodall, H. (2012). Media’s Influence on Gender Stereotypes. Media Asia, 39(3), 160-163. DOI: 10.1080/01296612.2012.11689932

Horkheimer, M & Adorno, T. (1944). The Culture Industry. In The Dialectic of Enlightenment. Herder and Herder: New York.

IMDb. (n. d.). Birds of Prey. IMDb. https://www.imdb.com/title/tt7713068/

IMDb. (n. d.). Suicide Squad. IMDb. https://www.imdb.com/title/tt1386697/

Jacobsson, E. (1999). “A Female Gaze?”. KTH Royal Institute of Technology, CID-51. http://www.nada.kth.se/cid

Jafar, A. (2019). Wonder Woman, Captain Marvel and the Power of Gender Stereotypes. Ms Magazine. https://msmagazine.com/2019/04/03/wonder-woman-captain-marvel-and-the-power-of-gender-stereotypes/

K, A., & Chithra, G. (2022). Of Castration Anxiety and Hypersexualized Female Bodies: A Critical Assessment of the Objectifying Gaze in Batman: Arkham Video Game Series. Theory and Practice in Language Studies, 12 (9), 1921-1929

Kaplan, E. (1983). Women and Film: Both Sides of the Camera. Mathluen & Co.

Khalizah, S., Sikumbang, A., & Harahap, S. (2022). Jhon Fiske Semiotics Analysis In The Theme of Gender Equality in the Film “Mulan”. International Journal of Culture and Social Science, 3 (2), 478-484. http://pcijournal.org/index.php/ijcss/index

Kittredge, K. (2003). Lewd and Notorious: Female Transgression in the Eighteenth Century. University of Michigan Press. https://doi.org/10.3998/mpub.16843

Li, H. (2022). Her Movie’s Enlightenment and Gender Ideologies from the Female Characters in Marvel Films. Advances in Social Science, Education and Humanities Research, 664, 434-438.https://www.atlantis-press.com/article/125975017.pdf

MacKinnon, C, (1987). Feminism Unmodified. Cambridge, Massachusetts, and London, England: Harvard University Press.

McKay, T. (2013). Female Self-Objectification: Causes, Consequences and Prevention. McNair Scholars Research Journal, 6(7), 53-70. https://commons.emich.edu/mcnair/vol6/iss1/7?utm_source=commons.emich.edu%2Fmcnair%2Fvol6%2Fiss1%2F7&utm_medium=PDF&utm_campaign=PDFCoverPages

Modleski, T. (1982) Loving with a Vengeance: Mass Produced Fantasies for Women. London: Methuen.

Moradi, B., & Huang, Y. (2008). Objectification Theory and Psychology of Women: A Decade of Advances and Future Directions. Psychology of Women Quarterly, 32, 377-398. DOI: 10.1111/j.1471-6402.2008.00452.x

Mulvey, L. (1975). Visual Pleasure and Narrative Cinema. Screen, 16 (3), 6-18. https://doi.org/10.1093/screen/16.3.6

Mwedzi, D. (2021). On Subversion: A Critical Assessment of the Male Gaze in Contemporary Film and Video Games. Liberated Arts: a journal for undergraduate research, 8 (1): 5. 1-9. https://ojs.lib.uwo.ca/index.php/lajur

Palys, T. (2008). Purposive sampling. In L. M. Given (Ed.) The Sage Encyclopedia of Qualitative Research Methods. (Vol.2). Sage: Los Angeles.

Price, J. (2020). ‘Suicide Squad’ Director David Ayer Responds to Criticism Over Harley Quinn Portrayal. Complex. https://www.complex.com/pop-culture/2020/04/david-ayer-harley-quinn-sexualized-suicide-squad-criticism-response

Rahmah, S., Setiati, E., Sukmawan, S., & Darihastining, S. (2020). Patriarchal Opression in Kim Ji-Yeong, Born 1982 By Cho Nam Joo: A Feminist Literary Study [Paper Presentation]. World Conference on Gender Studies, KnE Social Sciences. DOI 10.18502/kss.v4i10.7428

Rawden, J. (2020). Suicide Squad’s David Ayer Claps Back at Fans Saying Harley Quinn’s Costume Was Too Sexual. CinemaBlend. https://www.cinemablend.com/news/2496004/suicide-squads-david-ayer-claps-back-at-fans-saying-harley-quinns-costume-was-too-sexual

Regev, R. (2016). Hollywood Works: How Creativity Became Labor in the Studio System. Enterprise & Society, 17(3), 591-617. doi:10.1017/eso.2015.89

Rodman, R. (1997). And Now an Ideology from Our Sponsor: Musical Style and Semiosis in American Television Commercials. College Music Symposium, 37, 21-48. https://www.jstor.org/stable/40374302

Ritland, R. (2018). Visual pleasure from motherhood: Alyssa Milano challenging the male gaze. Media, Culture & Society, 40 (8), 1281-1291. https://doi.org/10.1177/0163443718798902

Schuckmann, P. (1998). Masculinity, the Male Spectator and the Homoerotic Gaze. American Studies, 43 (4), 671-680. https://www.jstor.org/stable/41157425

Seyffer, L. (2017). ‘Wonder Woman’ and the importance of the female gaze. Hypable. https://www.hypable.com/wonder-woman-and-the-importance-of-the-female-gaze/

Sharma, A., & Pathak-Shelat, M. (2017). The Cultivation and Reception Effects of Gendered Images. Göteborg: Nordicom.

Sutton, J., & Austin, Z. (2015). Qualitative Research: Data Collection, Analysis, and Management. The Canadian Journal of Hospital Pharmacy, 68 (3), 226-231. doi: 10.4212/cjhp.v68i3.1456

Turbeville, T. (2016). The Female Justice League: The Misrepresentations of Women in Comic Books. Stylus Knights Write Showcase Special Issue, 71-82. https://cah.ucf.edu/wp-content/uploads/sites/27/2019/10/KWS17_Turberville.pdf

Ward, L., & Grower, P. (2020). Media and the Development of Gender Role Stereotypes. Annual Review of Developmental Psychology. 2, 177-199. https://doi.org/10.1146/annurev-devpsych-051120-010630

Wood, J. (1994). Gendered Media: The Influence of Media on Views of Gender. In Gendered Lives: Communication, Gender, and Culture. Wadsworth Publishing.

Yan, C (Director). (2020). Birds of Prey [Film]. Warner Bros. Pictures.
描述 碩士
國立政治大學
國際傳播英語碩士學位學程(IMICS)
110461028
資料來源 http://thesis.lib.nccu.edu.tw/record/#G0110461028
資料類型 thesis
dc.contributor.advisor 王淑美zh_TW
dc.contributor.advisor Wang, Sumeien_US
dc.contributor.author (Authors) 蔡柔俞zh_TW
dc.contributor.author (Authors) Sanjaya, Priscilla Eugeniaen_US
dc.creator (作者) 蔡柔俞zh_TW
dc.creator (作者) Sanjaya, Priscilla Eugeniaen_US
dc.date (日期) 2023en_US
dc.date.accessioned 2-Aug-2023 14:14:56 (UTC+8)-
dc.date.available 2-Aug-2023 14:14:56 (UTC+8)-
dc.date.issued (上傳時間) 2-Aug-2023 14:14:56 (UTC+8)-
dc.identifier (Other Identifiers) G0110461028en_US
dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/146617-
dc.description (描述) 碩士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 國際傳播英語碩士學位學程(IMICS)zh_TW
dc.description (描述) 110461028zh_TW
dc.description.abstract (摘要) 本論文通過對兩性凝視之差異—分析電影《自殺突擊隊》和《猛 禽小隊:小丑女大解放》的哈莉奎因。這項研究的動機源於媒體中男性目光的持續影響，這往往會延續刻板印象、客觀化和權力失衡。通過檢查這兩部電影中對哈莉奎因的描述, 這項研究旨在揭示男性凝視和女性凝視塑造哈莉奎因形象的不同方式，以及凝視對角色的關鍵差異。

該分析是使用電視分析代碼和三種凝視分析的理論框架進行的，提供了對所起作用的視覺和敘事元素的全面理解。研究結果表明，《自殺突擊隊》中哈莉奎因的形像很大程度上受到男性目光的影響，因為她被性感化、物化，並被定位為被動的慾望對象。相比之下，《猛禽小隊：小丑女大解放》則採用了更加賦權和自我決定的角色形象，擁抱女性視角，強調她的能動性、獨立性和個人成長。本論文通過探討哈莉奎因與男性凝視和女性凝視之間的關係，為媒體中性別表徵的討論做出了貢獻。這項研究的結果強調了超越客觀化並擁抱電影中女性角色更加多樣化和賦權的重要性。		zh_TW
dc.description.abstract (摘要) This thesis explores the differences between the male gaze and the female gaze through an analysis of the character Harley Quinn in the films Suicide Squad and Birds of Prey. The motivation for this research stems from the persistent influence of the male gaze in media, which often perpetuates stereotypes, objectification, and power imbalances. By examining the depiction of Harley Quinn in these two films, this research aims to shed light on the distinct ways in which the male gaze and the female gaze shape the portrayal of Harley Quinn and the key differences the gazes have on the character.

The analysis is conducted using the theoretical framework of the codes of television analysis and the three gazes analysis, providing a comprehensive understanding of the visual and narrative elements at play. The findings reveal that the portrayal of Harley Quinn in Suicide Squad is heavily influenced by the male gaze, as she is sexualized, objectified, and positioned as a passive object of desire. In contrast, Birds of Prey adopts a more empowering and self-determined portrayal of the character, embracing the female gaze and emphasizing her agency, independence, and personal growth. This thesis contributes to the discourse on gender representation in media by exploring the portrayal of Harley Quinn in relation to the male gaze and the female gaze. The findings of this research highlight the importance of moving beyond objectification and embracing more diverse and empowering representations of female characters in film.		en_US
dc.description.tableofcontents Acknowledgement i
摘要 ii
Abstract iii
Table Of Contents iv
List Of Figures vi
List Of Tables ix
1. Introduction 1
1.1 Research Background 1
1.2 Research Motivations 4
2. Literature Review 7
2.1 Gender And Power In Film: Representation And Stereotyping 7
2.1.1 Cultural Industry 7
2.1.2 Gender Stereotypes In Popular Culture 9
2.1.3 Portrayal Of Female Characters In Action Films 12
2.2 The Male Gaze 13
2.2.1 John Fiske Semiotic Analysis 14
2.2.2 Laura Mulvey’s Visual Pleasure And Narrative Cinema 16
2.2.3 The Three Gazes 17
2.2.4 Gender Representation And Objectification In The Male Gaze 18
2.3 The Female Gaze 21
2.3.1 Emergence And Definition Of The Female Gaze 21
2.3.2 Subverting Gender Norms And Reclaiming Agency 22
2.3.3 Female Gaze In Films 24
3. Research Methods 27
3.1 Research Questions 27
3.2 Background Of The Two Movies 27
3.2.1 Harley Quinn 27
3.2.2 Suicide Squad 28
3.2.3 Birds Of Prey 29
3.3 Research Design 31
3.3.1 John Fiske’s Semiotic Analysis 31
3.4 Data Collection 33
4. Chosen Scenes from Two Films 36
4.1 Suicide Squad 36
4.1.1 Scene One (Harley Quinn Introduction Scene) 36
4.1.2 Scene Two (Harley Quinn Changing In The Prison) 39
4.2 Birds of Prey 42
4.2.1 Scene One (Harley Quinn Nightclub And Ace Chemical Scene) 42
4.2.2 Scene Two (Harley Quinn Police Station Fight) 46
5. Research Findings and Analysis 51
5.1 Codes Of Television Analysis 51
5.1.1 Level Reality 51
5.1.1.1 Appearance Code 51
5.1.1.2 Environment Code 52
5.1.1.3 Expression and Behavior Code 53
5.1.2 Level Representation 54
5.1.2.1 Camera Angles Code 54
5.3.2.2 Dialogue Code 55
5.1.3 Level Ideology 55
5.1.3.1 Individualism Code 55
5.1.3.2 Patriarchal Code 56
5.2 Three Gaze Analysis 60
5.2.1 Character Gaze 60
5.2.2 Audience Gaze 63
5.2.3 Camera Gaze 66
6. Conclusion 71
6.1 Findings And Contribution 71
6.2 Limitation 82
References 84		zh_TW
dc.format.extent 106907950 bytes-
dc.format.mimetype application/pdf-
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0110461028en_US
dc.subject (關鍵詞) 男性凝視zh_TW
dc.subject (關鍵詞) 女性凝視zh_TW
dc.subject (關鍵詞) 性別表徵zh_TW
dc.subject (關鍵詞) 刻板印象zh_TW
dc.subject (關鍵詞) 媒體描繪zh_TW
dc.subject (關鍵詞) 客觀化zh_TW
dc.subject (關鍵詞) 哈莉奎因zh_TW
dc.subject (關鍵詞) 權力動態zh_TW
dc.subject (關鍵詞) male gazeen_US
dc.subject (關鍵詞) female gazeen_US
dc.subject (關鍵詞) gender representationen_US
dc.subject (關鍵詞) stereotypesen_US
dc.subject (關鍵詞) media portrayalen_US
dc.subject (關鍵詞) objectificationen_US
dc.subject (關鍵詞) Harley Quinnen_US
dc.subject (關鍵詞) power dynamicsen_US
dc.title (題名) 兩性凝視之差異—分析電影《自殺突擊隊》和《猛 禽小隊:小丑女大解放》的哈莉奎因zh_TW
dc.title (題名) DIFFERENCES BETWEEN MALE GAZE AND FEMALE GAZE - BASED ON THE ANALYSIS OF THE CHARACTER, HARLEY QUINN, IN THE FILMS SUICIDE SQUAD AND BIRDS OF PREYen_US
dc.type (資料類型) thesisen_US
dc.relation.reference (參考文獻) Acuna, K. (2020). The ‘Birds of Prey’ costume designer walks us through creating some of Harley Quinn’s colorful looks. Insider. https://www.insider.com/birds-of-prey-harley-looks-costume-designer-2020-2

Arlina, T., & Nuraeni, R. (2022). John Fiske’s Semiotic Analysis: Representation of Social Criticism in Pretty Boys. Budapest International Research and Critics Institute-Journal, 5 (2), 15430 - 15440. https://doi.org/10.33258/birci.v5i2.5427

Asghar, J. (2013). Critical Paradigm: A Preamble for Novice Researchers. Life Science Journal, 10 (4), 3121-3127. http://www.lifesciencesite.com.

Ayer, D (Director). (2016), Suicide Squad [Film]. Warner Bros. Pictures.

Batobara, M. (2021). The Image of Woman and the Concept of Male Gaze in George Bernard Shaw’s Arms and the Man. Journal of Arts, Humanities and Social Sciences, 66, 442 - 452. DOI: 10.33193/JALHSS.66.2021.473

Bielby, D., & Bielby, W. (1996). Women and Men in Film: Gender Inequality among Writers in a Culture Industry. Gender and Society, 10(3) , 248 - 270. https://www.jstor.org/stable/189696

Bihlmeyer, J. (2002). Jane Campion’s The Piano: The Female Gaze, the Speculum and the Chora within the H(y)st(e)rical Film. Feminine Politics in Popular Culture: The Construction of Gender, 4(1): 13. https://core.ac.uk/download/pdf/48856719.pdf.

Blum, L. (2004). Stereotypes and Stereotyping: A Moral Analysis. Philosophical Papers, 33(3), 251 - 289. https://philpapers.org/archive/LAWSAS-2.pdf

Bowers, S. (1990). Medusa and the Female Gaze. NWSA Journal, 2 (2), 217-235. https://www.jstor.org/stable/4316018

Brey, I. (2020). The Female Gaze: A Revolution Onscreen. The French Publishers’ Agency: New York.

Burke, L. (2015). The Comic Book Film Adaptation: Exploring Modern Hollywood’s Leading Gender. Jackson: University Press of Mississippi.

Burns, A. (2009). Action, Romance, or Science Fiction: Your Favorite Movie Genre May Affect Your Communication. American Communication Journal, 11(4), 1-17. https://ac-journal.org/journal/2009/Winter/Articles/110404%20Action,%20Romance,%20Science%20Fiction.pdf

Cohen, P. (2010). What have Clothes Got to Do with It? Romantic Comedy and the Female Gaze. Southwest Review, 95(1/2), 78 - 88. https://www.jstor.org/stable/43473039

Cripa, J., & Hallak, J. (2012). Dr Harley Quinn, the villain from Gotham City with dependent personality disorder - psychiatry in pictures. The British Journal of Psychology, 200 (4), 267. DOI: https://doi.org/10.1192/bjp.bp.111.102020

Columpar, C. (2002). The Gaze As Theoretical Touchstone: The Intersection of Film Studies, Feminist Theory, and Postcolonial Theory. Women’s Studies Quarterly, 30 (1/2), 25-44. https://www.jstor.org/stable/40004635

Dapolito, M. (2016) A Contemporary Analysis of Action Films with Female Leads. Inquiries Journal, 8(09), http://www.inquiriesjournal.com/a?id=1442

Demir, M., Kaya, L., Turan, M., & Vural Batik, M. (2021). Cinderella Syndrome “Women with Fear of Independence”: Developing a Scale. International Journal of Psychology and Educational Studies, 8(1), 166-173. http://dx.doi.org/10.17220/ijpes.2021.8.1.236

De Vries, D., & Peter, J. (2013). Women on display: The effect of portraying the self online on women’s self-objectification. Computers in Human Behavior, 29 (4), 1483-1489. https://doi.org/10.1016/j.chb.2013.01.015

Dirse, Z (2013). Gender in Cinematography: Female Gaze (Eye) behind the Camera. Journal of Research in Gender Studies, 3(1), 15-29. https://www.proquest.com/docview/1439928160?pq-origsite=gscholar&fromopenview=true

Dowd, J., Crabtree, A., & Cannon, B. (2021): Movies, gender, and social change: the hollywood romance film. Journal of Gender Studies. DOI: 10.1080/09589236.2021.1979479

Eagan, D. (2012). Why Hollywood Loves Comic Books. Smitshsonian. https://www.smithsonianmag.com/arts-culture/why-hollywood-loves-comic-books-81730731/

Ellemers, N. (2018). Gender Stereotypes. Annual Review of Psychology, 69, 275-298. https://doi.org/10.1146/annurev-psych-122216-011719

Ezra, E., & Rowden, T. (2006). Transnational Cinema, The Film Reader. Routledge.

Female Gaze. (2022). What Is The Female Gaze?. The Female Gaze. https://www.thefemalegaze.com/what-is-the-female-gaze/

Fimbianti, R. (2020). “It Wasn’t Made for Him”: Examining Female-Led Superhero Films Wonder Woman and Captain Marvel and the Internet Commentary that Follows. NCUR. http://libjournals.unca.edu/ncur/wp-content/uploads/2021/01/3295-Fimbianti-Rachel-FINAL.pdf

Fiske, J. (1987). Television Culture. London, New York: Routledge.

Fiske, J. (1985). The Semiotics of Television. Critical Studies in Mass Communication, 2:2, 176-183. DOI: 10.1080/15295038509360076

Hays, C. (2019). Shifting the gaze: Exploring young women`s feminist consciousness raising through the female gaze. Available from ProQuest Central; ProQuest Dissertations & Theses A&I; ProQuest Dissertations & Theses Global. https://proxyone.lib.nccu.edu.tw/login?url=https://www.proquest.com/dissertations-theses/shifting-gaze-exploring-young-womens-feminist/docview/2511934314/se-2

Fredrickson, B., & Roberts, T. (1997). Objectification Theory: Toward Understanding Women’s Lived Experiences and Mental Health Risks. Psychology of Women Quarterly, 21, 173-206. DOI: 10.1111/j.1471-6402.1997.tb00108.x

French, L. (2021). The Female Gaze in Documentary Film: An International Perspective. Switzerland: Palgrave Macmillan.

Gallagher, M. (1992). Women and Men in the Media. Communication Research Trends, 12(1), 1-36. http://cscc.scu.edu/trends/v12/V12_1.pdf

Gerbner, G. (1998). Cultivation Analysis: An Overview. Mass Communication & Society, 1(3-4), 175-194. https://doi.org/10.1080/15205436.1998.9677855

Goodall, H. (2012). Media’s Influence on Gender Stereotypes. Media Asia, 39(3), 160-163. DOI: 10.1080/01296612.2012.11689932

Horkheimer, M & Adorno, T. (1944). The Culture Industry. In The Dialectic of Enlightenment. Herder and Herder: New York.

IMDb. (n. d.). Birds of Prey. IMDb. https://www.imdb.com/title/tt7713068/

IMDb. (n. d.). Suicide Squad. IMDb. https://www.imdb.com/title/tt1386697/

Jacobsson, E. (1999). “A Female Gaze?”. KTH Royal Institute of Technology, CID-51. http://www.nada.kth.se/cid

Jafar, A. (2019). Wonder Woman, Captain Marvel and the Power of Gender Stereotypes. Ms Magazine. https://msmagazine.com/2019/04/03/wonder-woman-captain-marvel-and-the-power-of-gender-stereotypes/

K, A., & Chithra, G. (2022). Of Castration Anxiety and Hypersexualized Female Bodies: A Critical Assessment of the Objectifying Gaze in Batman: Arkham Video Game Series. Theory and Practice in Language Studies, 12 (9), 1921-1929

Kaplan, E. (1983). Women and Film: Both Sides of the Camera. Mathluen & Co.

Khalizah, S., Sikumbang, A., & Harahap, S. (2022). Jhon Fiske Semiotics Analysis In The Theme of Gender Equality in the Film “Mulan”. International Journal of Culture and Social Science, 3 (2), 478-484. http://pcijournal.org/index.php/ijcss/index

Kittredge, K. (2003). Lewd and Notorious: Female Transgression in the Eighteenth Century. University of Michigan Press. https://doi.org/10.3998/mpub.16843

Li, H. (2022). Her Movie’s Enlightenment and Gender Ideologies from the Female Characters in Marvel Films. Advances in Social Science, Education and Humanities Research, 664, 434-438.https://www.atlantis-press.com/article/125975017.pdf

MacKinnon, C, (1987). Feminism Unmodified. Cambridge, Massachusetts, and London, England: Harvard University Press.

McKay, T. (2013). Female Self-Objectification: Causes, Consequences and Prevention. McNair Scholars Research Journal, 6(7), 53-70. https://commons.emich.edu/mcnair/vol6/iss1/7?utm_source=commons.emich.edu%2Fmcnair%2Fvol6%2Fiss1%2F7&utm_medium=PDF&utm_campaign=PDFCoverPages

Modleski, T. (1982) Loving with a Vengeance: Mass Produced Fantasies for Women. London: Methuen.

Moradi, B., & Huang, Y. (2008). Objectification Theory and Psychology of Women: A Decade of Advances and Future Directions. Psychology of Women Quarterly, 32, 377-398. DOI: 10.1111/j.1471-6402.2008.00452.x

Mulvey, L. (1975). Visual Pleasure and Narrative Cinema. Screen, 16 (3), 6-18. https://doi.org/10.1093/screen/16.3.6

Mwedzi, D. (2021). On Subversion: A Critical Assessment of the Male Gaze in Contemporary Film and Video Games. Liberated Arts: a journal for undergraduate research, 8 (1): 5. 1-9. https://ojs.lib.uwo.ca/index.php/lajur

Palys, T. (2008). Purposive sampling. In L. M. Given (Ed.) The Sage Encyclopedia of Qualitative Research Methods. (Vol.2). Sage: Los Angeles.

Price, J. (2020). ‘Suicide Squad’ Director David Ayer Responds to Criticism Over Harley Quinn Portrayal. Complex. https://www.complex.com/pop-culture/2020/04/david-ayer-harley-quinn-sexualized-suicide-squad-criticism-response

Rahmah, S., Setiati, E., Sukmawan, S., & Darihastining, S. (2020). Patriarchal Opression in Kim Ji-Yeong, Born 1982 By Cho Nam Joo: A Feminist Literary Study [Paper Presentation]. World Conference on Gender Studies, KnE Social Sciences. DOI 10.18502/kss.v4i10.7428

Rawden, J. (2020). Suicide Squad’s David Ayer Claps Back at Fans Saying Harley Quinn’s Costume Was Too Sexual. CinemaBlend. https://www.cinemablend.com/news/2496004/suicide-squads-david-ayer-claps-back-at-fans-saying-harley-quinns-costume-was-too-sexual

Regev, R. (2016). Hollywood Works: How Creativity Became Labor in the Studio System. Enterprise & Society, 17(3), 591-617. doi:10.1017/eso.2015.89

Rodman, R. (1997). And Now an Ideology from Our Sponsor: Musical Style and Semiosis in American Television Commercials. College Music Symposium, 37, 21-48. https://www.jstor.org/stable/40374302

Ritland, R. (2018). Visual pleasure from motherhood: Alyssa Milano challenging the male gaze. Media, Culture & Society, 40 (8), 1281-1291. https://doi.org/10.1177/0163443718798902

Schuckmann, P. (1998). Masculinity, the Male Spectator and the Homoerotic Gaze. American Studies, 43 (4), 671-680. https://www.jstor.org/stable/41157425

Seyffer, L. (2017). ‘Wonder Woman’ and the importance of the female gaze. Hypable. https://www.hypable.com/wonder-woman-and-the-importance-of-the-female-gaze/

Sharma, A., & Pathak-Shelat, M. (2017). The Cultivation and Reception Effects of Gendered Images. Göteborg: Nordicom.

Sutton, J., & Austin, Z. (2015). Qualitative Research: Data Collection, Analysis, and Management. The Canadian Journal of Hospital Pharmacy, 68 (3), 226-231. doi: 10.4212/cjhp.v68i3.1456

Turbeville, T. (2016). The Female Justice League: The Misrepresentations of Women in Comic Books. Stylus Knights Write Showcase Special Issue, 71-82. https://cah.ucf.edu/wp-content/uploads/sites/27/2019/10/KWS17_Turberville.pdf

Ward, L., & Grower, P. (2020). Media and the Development of Gender Role Stereotypes. Annual Review of Developmental Psychology. 2, 177-199. https://doi.org/10.1146/annurev-devpsych-051120-010630

Wood, J. (1994). Gendered Media: The Influence of Media on Views of Gender. In Gendered Lives: Communication, Gender, and Culture. Wadsworth Publishing.

Yan, C (Director). (2020). Birds of Prey [Film]. Warner Bros. Pictures.		zh_TW