Ką veikia, ir kaip atrodo moterys lietuvių komerciniame kine?

LTDešimtmetį stebint Lietuvos kino kultūrą ir jos pokyčius darosi akivaizdu, kad lietuviškas kinas užima vis didesnę jos dalį. Nacionalinio kino kontekste komercinis kinas yra sąlyginai naujas ir mažai tyrinėtas reiškinys įvairiais aspektais. Pavyzdžiui, ar progresyvėjanti mintis lyčių lygybės klausimu visuomenėje atsispindi ir komerciniame lietuviškame kine? O gal vis dar juokiamės iš tų pačių dalykų ir nacionalinę tapatybę grindžiame herojais vyrais? Šiuo straipsniu norime nuodugniau patyrinėti, kaip moterys reprezentuojamos komerciniame lietuviškame kine. [Iš straipsnio, p. 149]

ENThe article aims to consider how women are represented in commercial Lithuanian films - a still relatively new phenomenon in Lithuanian popular culture - through the feminist cinema theory lens. The article analyses the most viewer-attended genres: comedies, thrillers, and historical films. It attempts to investigate which female roles are characteristic of different genres, what gender dynamics the plots are based on, and how they correlate with Hollywood genre conventions and their transformations. The article attempts to detect whether Lithuanian commercial cinema contains traces of a critical approach towards the stereotypes of women’s roles and representation formed in a patriarchal society. An examination of the top examples of each genre reveals that Lithuanian commercial cinema is still dominated by the logic of the male gaze, rendering a woman into a spectacle through the codes of different genres. In action films, the rooted sexualised representation of femininity makes the female characters secondary or of mere help in accomplishing male missions, or otherwise leaves them in the position of extras. In comedies, their social position depends on their ability to fulfil a man’s expectations and fit into the requirements of heteronormative relationship models. Lastly, in historical films, women are employed as illustrations of national ideals, while historical turning points are still led exclusively by men. Therefore, the stereotypisation, depersonalisation and objectification of women in Lithuanian commercial films remain hard-set cliches that help instate a heteronormative social order. [From the publication p. 360]