20.500.12556/RUL-189042 Feminizem v filmih režiserke Grete Gerwig magistrsko delo Feminism in the films of director Greta Gerwig Magistrsko delo obravnava feminizem in feministične elemente v filmskem ustvarjanju režiserke, igralke in scenaristke Grete Gerwig. V prvem delu magistrske naloge so teoretično predstavljeni pojmi patriarhata, feminizma, feministične filmske teorije in filmskega jezika v feminističnem filmu. Skozi kvalitativno metodo tekstualne analize, delo podaja analizo narativnih in formalnih elementov feminizma v filmih Lady Bird, Čas deklištva in Barbie režiserke Grete Gerwig. Obravnava tematiko identitete, družbenih vlog, neodvisnosti, enakopravnosti in družbenih omejitev v življenju odraščajočih protagonistk. Analize so podprte s teorijo moškega pogleda (ang. male gaze) feministke in filmske teoretičarke Laure Mulvey. Zaključi z ugotovitvijo, da so zgodbe vseh treh filmov pripovednovane z ženske perspektive doživljanja življenja in sveta, ter iskanja in raziskovanja samih sebe v okoljih, ki jih poskušajo nadzorovati oz. upočasniti njihovo samostojnost. Gerwig protagonistkam vedno omogoči prostor in čas za kritično razmišljanje ter izražanje subjektivnih občutkov in prepričanj. Kamera glavne protagonistke ne objektivizira, ampak spremlja njeno čustveno in identitetno stanje ter ostaja na ravni izkušnje protagonistke. This master’s thesis examines feminism and feminist elements in the filmmaking of director, actress, and screenwriter Greta Gerwig. The first part of the thesis provides a theoretical overview of the concepts of patriarchy, feminism, feminist film theory and feminist cinema. Using a qualitative method of textual analysis the thesis examines the narrative and formal elements of feminism in Greta Gerwig’s films Lady Bird, Little Women, and Barbie. It addresses themes of identity, social roles, independence, equality, and social constraints in the lives of the coming-of-age protagonists. The analyses are supported by the theory of the “male gaze” developed by feminist and film theorist Laura Mulvey. It concludes by noting that the stories in all three films are told from a female perspective of experiencing life and the world, as well as of searching for and exploring their true selves in environments that attempt to control or hinder their independence. Gerwig always allows the protagonists space and time for critical reflection, subjective opinion and the expression of feelings and beliefs. The camera does not objectify the main protagonist but rather follows her emotional and identity-related state, remaining at the level of the protagonist’s experience. feminizem patriarhat film Greta Gerwig kinematografija feminism patriarchy film Greta Gerwig cinematography true true false N. Strmole Slovenski jezik Angleški jezik Magistrsko delo/naloga 2026-10-01 07:30:04 2026-10-01 07:30:05 2026-11-06 11:09:03 0000-00-00 00:00:00 2026 0 Ljubljana 0 Ljubljana 1 spletni vir (1 datoteka PDF (68 str.)) 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 141.72:791.6(043.2) 210633 304213507 31749.pdf 31749.pdf 1 E588F5A23C3AFEFEC866D6587837D84A 5d9d3cf0e9110072ab470127aedf8adf5ecb9047841375d35fc959c3687fdbac 0da4d065-bd59-11f1-8bc5-0050569b8976 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=249485 Fakulteta za družbene vede 0 0 0