| 女性主义活动第二次海潮以后，女性片子就成了很多女性主义者研究的对象。在本篇论文中，笔者也将经由过程九十年月的一些法国片子来剖析其时法国女性的身份成绩。经由过程对影片傍边女性脚色的剖析，我们发明九十年月的法国女性与传统女性有了较年夜变更。女性不再依靠于男性，而是成为一个完整自力的个别。传统女性常常被约束在家庭傍边，只充任配头和母亲的脚色，而对于九十年月的法国女性来讲，外收工作曾经成了她们生涯傍边很主要的一部门，而且可以经由过程这些任务完成本身的社会价值。同时，她们也具有更多的自在来选择本身想要的生涯措施。娶亲和生育也不再是一个女性所必需有的阅历，一切全凭她们本身的志愿。对于男性，她们不平从，亦不友好，而是以一种对等的身份去爱。固然，因为根深蒂固的男尊女卑思惟的作用，男女之间并未到达完整的对等。是以，法语毕业论文，这个时代的女性仍然没有停滞对女性权力的寻求，而且这一景象曾经融入到了她们的平常生涯傍边。另外，社会任务亦让这些女性面对着更多的艰苦，然则在艰苦眼前，很多女性常常表示出比男性更多的勇气和坚韧。九十年月法国女性这一身份特质的转变是和全部社会的成长变更慎密相干的。起首，法语论文范文，传统女性不能不依靠于男性的一个很主要的缘由就是没有自力的经济起源，而工业反动、两次世界年夜战则为女性加入任务供给了一个很主要的契机。其次，法国女性对战斗和对经济成长的进献让引导阶级愈来愈认识到了其主要性，赓续完美的对于掩护女性权益的司法条目也为女性束缚和男女对等供给了很好的司法保证。最初，作为一个宣传自在对等的国家，法国一向都是女性主义成长的膏壤，很多女性主义前驱的引诱和两次的女性主义活动都让愈来愈多的女性认识到争夺权力的主要性。女性认识的觉悟和内部前提的改良配合促进了九十年月法国女性身份的主要转变。 Abstract: Feminist activities second times after the tide, a lot of women film feminist research. In this thesis, the author will also through some French film process ninety years to analyze when the French women's identity achievement. Through the analysis of process of film sideways female role, we invented the nineties French women with traditional women have bigger change. Women no longer rely on men, but to become a complete independent individual. Traditional women are often constrained in the family, only acted as a spouse and mother's role, and about ninety years of French women, to work outside the home have become their career Bangbian is the main part of, and through these tasks to complete their social value. At the same time, they also have more freedom to choose life you want. The wedding and birth is no longer necessary for some experience of a female, all with their own volunteer. For men, they are not from the uneven, friendly, but with a kind of equal status to love. Of course, because of the impact of the patriarchal thinking ingrained, between men and women did not reach complete equivalence. Is in the era of women is still not the stagnant of female power seeking and the scene once into the their usual career Bangbian. In addition, the social mission also let these women face more difficult, but in difficult at the moment, many women often show more than men of courage and tenacity. Change ninety years of French women this identity is all social change and grow close together and relevant. Chapeau, traditional women can't do not rely on men, one very important reason is that there is no independent economic origin, and the industrial revolution, two world wars is for women to join the mission provides a very important opportunity. Secondly, the French women for battle and to economic growth contribution to guide the class become more and more aware of the main, gengxu perfect judicial entry on the protection of rights and interests of women, for women's Liberation and equality between men and women to provide a good judicial assurance. Initially, as a propaganda freedom and equality of the country, France has always been the growth of feminism paste soil, the lure of many feminist precursor and two feminist activities let a growing number of women to recognize the struggle for power. Improved awareness and understanding of the internal premise of women with promoting the major change of ninety years of French female identity. 目录: REMERCIEMENTS 5-6 RESUME 6-8 摘要 8-9 INTRODUCTION 12-16 CHAPITRE I LA METHODOLOGIE 16-28 1.1 La présentation générale du film des années 16-22 1.1.1 Un financement important 16-18 1.1.2 Une période de reprise du cinéma fran ais 18-20 1.1.3 L'arriv e des jeunes r alisateurs et r alisatrices 20-22 1.2 La sélection du film 22-28 1.2.1 Le sujet du film 23-25 1.2.2 Le box-office du film 25 1.2.3 Le réalisateur 25-28 CHAPITRE II LES RECHERCHES ANTERIEURES ET LES BASES THEORIQUES 28-46 2.1 La rétrospective sur les recherches antérieures 28-34 2.1.1 Première étape : entre 1972 et 29-32 2.1.2 Deuxième étape : entre 1975 et 32-33 2.1.3 Troisième étape : de 1985 jusqu' aujourd'hui 33-34 2.2 Les bases théoriques 34-46 2.2.1 L'identit de l'individu 35-38 2.2.2 L'identit du groupe 38-42 2.2.3 L'identit de la soci t 42-46 CHAPITRE III LES FILMS FEMINISTES REALISES PAR LES FEMMES ET LES HOMMES 46-62 3.1 La présentation générale des films réalisés par les femmes 46-52 3.2 La présentation générale des films réalisés par les hommes 52-58 3.3 Les premières approches des films féministes choisis 58-62 CHAPITRE IV LES IDENTITES DES FEMMES A TRAVERS L'ANALYSE DES ROLES FEMININS DES FILMS 62-82 4.1 Le classement des r les féminins dans les films féministes 62-64 4.2 L'identit des r les f minins des films 64-72 4.3 L'identit des femmes de diff rents ges 72-79 4.3.1 L'identit de jeunes femmes 72-75 4.3.2 L'identit des femmes mari es et des femmes l' ge du mariage 75-78 4.3.3 L'identit des femmes g es 78-79 4.4 L'identit f minine au sein de la soci t 79-82 CHAPITRE V LES CONDITIONS SOCIALES DE LA FORMATION IDENTITAIRE DE LA FEMME FRAN AISE 82-90 5.1 Les conditions économiques 82-84 5.2 Les conditions politiques 84-87 5.3 Les conditions culturelles 87-90 CONCLUSION 90-94 BIBLIOGRAPHIE 94-96 |
