Minorities in motion pictures

This thesis utilizes a multi-perspectival cultural and media studies approach analyzing the production, filmic text, and reception of Taarka, the first film about Setos, that is advertised as a (docu)drama. However, the analysis shows that it can also be interpreted as an ethnographic film. It examines which intersecting identities related to Seto women are depicted in the film and whether audiences and critics recognize the power dynamics of these intersections. It also analyses how the Estonian cultural
economic environment, the filmic text, audience comments and critics reviews reinforce or challenge hegemonies connected with these intersections. Drawing on the principles of postcolonial feminism, intersectionality, and other critical theories, the thesis concludes that even though the filmic text challenges traditional gender roles, it still reinforces the Estonians’ one-sided portrayal of an exotic, commodified Seto ethnicity. Moreover, the cultural economic environment and reception of the film also bolster this view of Seto ethnicity.

This thesis explores the manner in which whiteness is represented and constructed in Western media through analysis of six narrative films about vampires. The study hypothesizes that vampire films have been underexamined as a site of contestation over the meanings of racial differences because they have been considered a "white" genre. Stuart Hall's encoding/decoding model is used as the principal methodology, but other theories (e.g. semiotics) are used to explore the subtexts of the films. The study pays attention to the historical moment of the films' production and explores instances where race works in tandem with gender to construct Others.

Sports are a primary zone of masculinity and sports films are a popular genre. One is hard pressed to find many leading female roles as athletes in male-dominated sports storylines. The cinematic portrayal of women athletes represents social attitudes and values and whether or not the women's movement has been able to influence representations and, concomitantly, social understandings of women and athleticism. My discussion of films featuring female athletes begins with National Velvet (1944) and ends with Whip It (2008). By examining select sports films centered on all female teams, co-ed teams and individual female athletes, I show how their storylines and resolutions do or do not capitulate to patriarchal ideology. I find a general capitulation, with some concessions to women's equality. I conclude with a call for a degendering of sports and a redefinition of strength, competitiveness and aggression as human, not masculine.