Harpy, mermaid, nymph: challenging gendered mythmaking in representations of female mythical figures in contemporary screen adaptations through practice

Abstract

This practice-led PhD examines how womanhood is constructed in film through the representation of three mythological female figures: the Harpy, the Mermaid and the Nymph. The research explores how these figures have been portrayed onscreen, the ideological implications of this representation, and how they relate to wider representations of women in cinema following significant feminist movements. Particular attention is given to third-wave feminism, which emerged during the 1990s and early 2000s, when there was a renewed commitment to diversity, intersectionality and resistance to systemic forms of oppression.

Onscreen, the Harpy, Mermaid and Nymph have been depicted in mythological adaptations through restrictive gender stereotypes: the Harpy as monstrous or threatening, the Mermaid as unattainable or dangerous, and the Nymph as sexually available and youthful. They are frequently silenced, denied agency and positioned as objects rather than subjects. They often appear only briefly within narratives, functioning primarily as obstacles, temptations or rewards within a male-centred journey. Their isolation onscreen further reinforces their status as outsiders and, if and when they are grouped together, they are frequently coded as threatening.

Through the creation of three original practice-based films centred on these figures, the thesis develops a methodology for reimagining female mythological characters. Drawing on feminist theory and feminist film theory, this methodology employs strategies including narrative subversion, the repositioning of the gaze beyond traditional male-centred perspectives, and the disruption of conventions that isolate female characters from one another. The research outputs demonstrate how feminist film practice can challenge prior representations and generate alternative forms of meaning.

This research also reconceptualises silence as a productive feminist filmmaking strategy rather than as merely a sign of oppression. In addition, it establishes an original connection between backlash theories (Flaudi, 1991) to the study of mythological film adaptations, contributing new insights to feminist film scholarship and practice.

Thesis is embargoed until 31 August 2028.

Date of Award	Aug 2026
Original language	English
Supervisor	Victoria McCollum (Supervisor), Murat Akser (Supervisor) & Lisa Fitzpatrick (Supervisor)