Gottdiener, Anna2022-04-272022-04-272022-04Gottdiener, Anna. "Performative Iconography: Empowering the Cinematic Trope." Q: Journal of Undergraduate Research & Inquiry, 2022. https://doi.org/10.48497/N95D-MX02http://hdl.handle.net/20.500.11868/3073Recommended citation: Gottdiener, Anna. "Performative Iconography: Empowering the Cinematic Trope." Q: Journal of Undergraduate Research & Inquiry, 2022. https://doi.org/10.48497/N95D-MX02Untitled Film Still #16 by Cindy Sherman, Marxism in Art: Beware of Fascist Feminism by Hannah Wilke, and La Notte by Michelangelo Antonioni are analyzed through the lens of feminism, iconography and film theory. Second-wave feminist criticism of Sherman’s and Wilke’s work as narcissistic is challenged. Superficially labeling performative female artists who use their own body for expression is a result of internalized misogyny. Association of women’s external identity performance with internal values stems from patriarchal thought. Instead of being limited to just a masculine representation of self, feminists can represent themselves with traditionally feminine symbolism and still be revolutionary. This essay was written in Dr. Rosemarie Trentinella’s ART 225 class.en-USFemme FataleFeministDouble-bindPerformative IconographyFeminineArticlehttps://doi.org/10.48497/N95D-MX02