Journal articles: 'Literature|Gender studies|Film studies'

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Herrmann, Gina, and Isabel Jaén-Portillo. "Introduction." Image and Storytelling: New Approaches to Hispanic Cinema and Literature 1, no. 2 (October 31, 2020): 11–17. http://dx.doi.org/10.5399/uo/peripherica.1.2.2.

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This special issue of Periphērica, Image and Storytelling: New Approaches to Hispanic Cinema and Literature, features leading research by scholars of Hispanic cultures at the crossroads of literature, film, mind, and society. The collection showcases cutting-edge fields and themes including cognitive studies, affect studies, embodiment, and empathy, as well as new perspectives on adaptation, film typology, film teaching, gender, and genre. The research presented in this special issue underscores the excitement produced by crossing disciplinary boundaries in the study of verbal and visual narratives, moving beyond prevalent transnational approaches that do not sufficiently address key factors in the creation and reception of film narratives such as historical-sociological contexts, affective dynamics, psychological responses, and gender variables. The contributors include scholars whose professional and social relationships to the history, practices, and evolution of the moving image and new media vary widely, broaching a diversity of theories and methodologies and presenting readers with a comprehensive and innovative perspective on film art and the relationship between filmmakers, films, spectators, and contexts.

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Tarcov, Marianne, and Fareed Ben-Youssef. "Bodies in Pain, Pleasure, and Flux: Transgressive Femininity in Japanese Media and Literature." Japanese Language and Literature 53, no. 2 (October 10, 2019): 177–81. http://dx.doi.org/10.5195/jll.2019.78.

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Across a diverse set of texts from Japanese media and literature, including professional wrestling, avant-garde writing, and Zainichi Korean literature, this special section explores the fluid relationship between femininity and the body, where one is neither defined nor determined by the other. At the crossroads of Asian studies, gender studies, media, and literature, this collection offers an interdisciplinary and transnational lens to consider this relationship in a Japanese context. To borrow from Lee's deployment of Gloria Anzaldúa's “Border Women,” transgression provides these papers with a theoretical framework of inherent ambiguity that lingers between worlds—between the sanctioned and the unsanctioned, between performer and persona, between the reader and text. The papers presented here all treat femininity, not as an essentialized category of gendered experience, but as a liminal border zone in which conventional notions of gender, sexuality, and media become fluid and ambiguous. Whether it is the border between perfume advertising and avant-garde poetry, literary criticism and butoh dance, autobiographical writing and oral forms of nonverbal performance, or professional wrestling and documentary film, the papers featured here all transgress disciplinary borders of media and genre while interrogating and disrupting conventional notions of femininity.

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Collins, Matthew A. "Examining the Reception and Impact of the Dead Sea Scrolls: Some Possibilities for Future Investigation." Dead Sea Discoveries 18, no. 2 (2011): 226–46. http://dx.doi.org/10.1163/156851711x582541.

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AbstractThe last sixty years afford us a remarkable, though largely unexplored, opportunity to examine the Dead Sea Scrolls from the perspective of “reception history.” This article first provides an overview of what has already been done with regard to this goal and highlights the importance and timeliness of such an approach, suggesting that it is furthermore a necessary endeavor if Qumran Studies is to keep pace with developments in the wider world of Biblical Studies. It continues by outlining some possible directions for future investigation, identifying academic reception, popular reception, and processes of knowledge transfer as three main areas or categories into which such examinations could helpfully be divided. The internal processes of scrolls scholarship, the relationship between Qumran Studies and Biblical Studies, gender issues, the scrolls in literature, film, music, and art, and the role of exhibitions, documentaries, and newspapers, are all highlighted as potential areas for future research.

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De Marco, Marcella. "The ‘engendering’ approach in audiovisual translation." Target. International Journal of Translation Studies 28, no. 2 (August 4, 2016): 314–25. http://dx.doi.org/10.1075/target.28.2.11dem.

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Abstract Within academia gender analysis has been circumscribed mainly to Social Sciences. For years the focus of this analysis has been on the unbalanced representation of men and women as perceived through the use of the (sexist) grammatical and linguistic patterns of a language – for example, in literature – and the use of the images selected to portray male and female bodies – in the case of the mass media. With time, an interest in the implications that also the translation of written and audiovisual texts may have on the representation and perception of gender has grown, and attention has gradually shifted from the literary translation field to the audiovisual one. In the last decade, the study of audiovisual translation discourse from a gender perspective has ranged over a number of genres (TV series, films and commercials) and has resulted in a fruitful debate around the manifold approaches from which gender bias may be investigated, questioned and eventually reversed. In particular, De Marco (2012) has shed light on how much the consideration of audiovisual translation (AVT) as a social practice may benefit from implementing theories inherent to the multifaceted disciplines of Linguistics, Gender Studies, Film Studies and, obviously, Translation Studies. The present article discusses the extent to which such an interdisciplinary and ‘engendering’ approach may contribute to building a valid methodological framework within which AVT can be explored. At the same time, it highlights the limitations entailed by the difficulty of applying the same approach to the study of such a practical area – AVT – in which gender priorities are not perceived as important as other professional priorities.

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Cummings, Kelsey. "“Life Savers”: Technology and White Masculinities in Twitter-Based Superhero Film Promotion." Social Media + Society 4, no. 2 (April 2018): 205630511878267. http://dx.doi.org/10.1177/2056305118782677.

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Drawing from social media studies and the literature on American economic decline and conceptualizations of gender and sexuality, this article asks how Twitter’s medium-specific features can be understood through an examination of its representational qualities in the context of the promotion of two contemporary superhero films. The accounts @BatmanvSuperman and @SpiderManMovie provide case studies of film promotion that uses Twitter’s particularities as a platform in order to advance distinct narratives about the films being promoted, via original tweets and retweets that, respectively, represent differing approaches to advertisement. Through this study, the article advances the arguments, first, that cultural representations are reflective of Twitter’s specificities as a social media platform, and second, that these representations work in conjunction with cultural norms of the contemporary US. One form of idealized White masculinity advanced by the latter is reliant on technology and its merging with the White man’s body. As a result, the technologies of superheroes’ suits as well as Twitter itself become representative of the present sociopolitical climate and its various aspirations and anxieties.

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Sequeiros, Paula, and Luísa Sequeira. "Forget Bárbara Virgínia? A forerunner filmmaker between Portugal and Brazil." Comunicação e Sociedade 32 (December 29, 2017): 353–74. http://dx.doi.org/10.17231/comsoc.32(2017).2766.

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Bárbara Virgínia was a forerunner film director in Portugal and the Festival de Cannes. Starting artistically as a diseuse and actress, she directed a feature film and a documentary in her youth, in 1946. Bárbara emigrated to Brazil in 1952 to work on radio and television, the country where she settled, formed a family, eventually abandoning the stages, and died in 2015. For this socio-biography, we collected and analysed public and private memory documents, a research interview and conversations with her family. To construct our analysis and strengthen a feminist perspective, we used Portuguese cinema’s History and memoirs. We both avoided mythologising and aimed at unveiling the patriarchal gaze which shapes some literature about Bárbara Virgínia. We built our questioning and analysis from Linda Alcoff’s and Teresa de Lauretis’s gender studies, from the sociology of culture by Pierre Bourdieu who Bev Skeggs borrowed for her intersection of class, gender and coloniality, alongside historical and social research about both countries’ context. The paper focuses on the artistic and familiar roles played by the filmmaker, and proposes an interpretation aimed to contribute to a fine knowledge about gender and class barriers to cultural and professional practices at that time, while it also discusses the erasure of memory about Barbara Virginia.

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Haastrup, Helle Kannik. "Hermione’s feminist book club: celebrity activism and cultural critique." MedieKultur: Journal of media and communication research 34, no. 65 (December 21, 2018): 98–116. http://dx.doi.org/10.7146/mediekultur.v34i65.104842.

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In this article, I analyse how a celebrity can perform cultural critique and feminist activism using her Instagram account and online book club. The celebrity in question is British film star Emma Watson, famous for playing Hermione Granger in the Harry Potter franchise. Watson is performing her activism on gender equality and cultural critique by recommending feminist literature. This study undertakes an analysis of Watson’s presentations of self on Instagram and in her letters in the Our Shared Shelf book club. The analysis takes its point of departure from theories of social media and celebrity culture and film studies as well as investigations of celebrity book clubs and celebrity activism. This case study of Emma Watson’s performance of cultural critique and activism on specific media platforms demonstrates that Watson’s authority is based on her star image as well as the fact that her book club letters and Instagram posts mutually reinforce one another’s written personal arguments and visual documentation.

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Millard, Chris, and Felicity Callard. "Thinking in, with, across, and beyond cases with John Forrester." History of the Human Sciences 33, no. 3-4 (October 2020): 3–14. http://dx.doi.org/10.1177/0952695120965403.

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We consider the influence that John Forrester’s work has had on thinking in, with, and from cases in multiple disciplines. Forrester’s essay ‘If p, Then What? Thinking in Cases’ was published in History of the Human Sciences in 1996 and transformed understandings of what a case was, and how case-based thinking worked in numerous human sciences (including, centrally, psychoanalysis). Forrester’s collection of essays Thinking in Cases was published posthumously, after his untimely death in 2015, and is the inspiration for the special issue we introduce. This comprises new research from authors working in and across the history of science and medicine, gender and sexuality studies, philosophy of science, semiotics, film studies, literary studies and comparative literature, psychoanalytic studies, medical humanities, and sociology. This research addresses what it means to reason in cases in particular temporal, spatial, or genre-focused contexts; introduces new figures (e.g. Eugène Azam, C. S. Peirce, Michael Balint) into lineages of case-based reasoning; emphasizes the unfinished and unfinishable character of some case reading and autobiographical accounts; and shows the frequency with which certain kinds of reasoning attempted with cases fail (often in instructive ways). The special issue opens up new directions for thinking and working with cases and case-based reasoning in the humanities and human sciences.

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Harper, Margaret Mills. "South Atlantic Modern Language Association." PMLA/Publications of the Modern Language Association of America 115, no. 4 (September 2000): 856. http://dx.doi.org/10.1632/s0030812900140325.

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SAMLA's seventieth annual convention will be held in Birmingham at the Sheraton Civic Center from 10 to 12 November. William C. Calin will present the keynote address; George Ella Lyon will give the creative address; and French, German, and Spanish plenary addresses will also be featured. Sonia Sanchez will make a special appearance, and other sessions will focus on Birmingham and Alabama writers, gender and race studies, and human rights in literature and culture. Last year's highly successful reading by contemporary writers, sponsored by the literary magazine Five Points, will be repeated. Graduate students will host a poets' circle, and a special performance of Hemingway stories will take place. Among the twenty special sessions are African Influence on Western Literatures; The Holocaust in Literature and Film; Rhetorics, Rhetoricians, and the Teaching of Rhetoric; Early Modern Women of Spain; and Epics and Literature at the Millennium. During the varied program (over 140 sessions), the convention will feature issues of technology, pedagogy, and professional concerns and will offer a number of opportunities to meet and socialize. Cash bars will be held for faculty members in two-year colleges, Feministas Unidas, and gay and lesbian studies. Side trips are planned to the Birmingham Civil Rights Institute and the Birmingham Museum of Art. A full copy of the program will be available on the SAMLA Web site in July.

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Rajasakran, Thanaseelen, Santhidran Sinnappan, Thinavan Periyayya, and Sridevi Balakrishnan. "Muslim male segmentation: the male gaze and girl power in Malaysian vampire movies." Journal of Islamic Marketing 8, no. 1 (March 6, 2017): 95–106. http://dx.doi.org/10.1108/jima-01-2015-0007.

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Purpose The purpose of this paper is to propose and develop a distinct perspective from the consumer culture theory in the context of Muslim consumers, marketing and the feminist theory. Design/methodology/approach This paper is based on a critical review of the literature for insights into the consumer culture theory in the context of Muslim consumers, Islamic marketing paradigm and the feminist theory. Findings The study suggests that scholars in the area of marketing may consider drawing on the theory of Islamic consumer culture, film and feminist theory. This theory can be used as a platform to understand the Muslim mind and the related cultural traits to create greater engagement and interest in Malaysian horror genres among local and international audience. The Malaysian local horror genres currently have an interesting blend of Islam, local culture and gender biases addressing the universal concept of good against the evil forces, and this has the potential of offering new experiences to especially international audiences. Research limitations/implications This study is purely theory-based and is aimed at knowledge development in this field of Islamic consumer culture. It also invites academics to engage in scholarly activities toward theory building in this area. Practical implications The study provides directions for areas of possible future research in Islamic marketing, consumer culture and film studies. Social implications This study intends to broaden the research efforts in Islamic consumer culture marketing in terms of innovative ways to serve this growing Muslim market. Originality/value This study contributes to the discipline by providing new perspectives in Islamic consumer culture inquiry in the context of film studies.

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Schmidgen, Henning. "Successful Paranoia: Friedrich Kittler, Lacanian Psychoanalysis, and the History of Science." Theory, Culture & Society 36, no. 1 (August 7, 2018): 107–31. http://dx.doi.org/10.1177/0263276418791722.

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With studies like Discourse Networks 1800/1900 and Gramophone, Film, Typewriter, Friedrich A. Kittler contributed significantly to transforming the history of media into a vital field of inquiry. This essay undertakes to more precisely characterize Kittler’s historiographical approach. When we look back on his early contributions to studies of the relationship between literature, madness and truth – among others, his doctoral dissertation on the Swiss poet and writer Conrad Ferdinand Meyer – what strikes us is the significance that Jacques Lacan’s structuralist psychoanalysis had in shaping the orientation of Kittler’s later studies. His intensive engagement with Lacan galvanized Kittler’s concern with the question of sex and/or gender in the evolution of the humanities as well as his concern with the media history of the university. At the same time, Kittler’s reliance on Lacan led him to a kind of history that is interested above all in the internal logic of discourse. As we see, for instance, in Kittler’s anecdotic treatment of 19th-century physiologist Hermann von Helmholtz, this historiography does not involve any original research in archives and/or museums. Rather, it builds upon existing historical accounts and focuses its analyses on the issue of symbolic structures. Instead of investigating the history of the material culture of science and technology, what is thereby ultimately reinforced is a philosophical idealism in which knowledge and paranoia become superimposed in and by means of an ‘original syntax’ (Lacan).

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Chow, Rey. "A Phantom Discipline." Publications of the Modern Language Association of America 116, no. 5 (October 2001): 1386–95. http://dx.doi.org/10.1632/s0030812900113409.

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In the academic study of cinema, as in other kinds of academic discourses, one of the most commonly encountered questions these days tends to be some version of the following: Where in this discipline am I? How come I am not represented? What does it mean for me and my group to be represented in this manner? What does it mean for me and my group to have been made invisible? These questions pertain, of course, to the urgency and prevalence of the politics of identification, to the relation between representational forms and their articulation of subjective histories and locations. This is one reason the study of cinema, like the study of literature and history, has become increasingly caught up in the study of group cultures: every group (be it defined by nation, class, race, ethnicity, or sexual orientation), it seems, produces a local variant of the universal that is cinema, requiring critics thus to engage with the specificities of particular collectivities even as they talk about the generalities of the filmic apparatus. According to one report, for instance, at the Society of Cinema Studies Annual Conference of 1998, “nearly half the over four hundred papers (read from morning to night in nine rooms) treated the politics of representing ethnicity, gender, and sexuality” (Andrew 348).' Western film studies, as Christine Gledhill and Linda Williams write, currently faces its own “impending dissolution […] in […] transnational theorization” (Introduction 1). How did this state of affairs arise?

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Chow, Rey. "A Phantom Discipline." PMLA/Publications of the Modern Language Association of America 116, no. 5 (October 2001): 1386–95. http://dx.doi.org/10.1632/pmla.2001.116.5.1386.

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In the academic study of cinema, as in other kinds of academic discourses, one of the most commonly encountered questions these days tends to be some version of the following: Where in this discipline am I? How come I am not represented? What does it mean for me and my group to be represented in this manner? What does it mean for me and my group to have been made invisible? These questions pertain, of course, to the urgency and prevalence of the politics of identification, to the relation between representational forms and their articulation of subjective histories and locations. This is one reason the study of cinema, like the study of literature and history, has become increasingly caught up in the study of group cultures: every group (be it defined by nation, class, race, ethnicity, or sexual orientation), it seems, produces a local variant of the universal that is cinema, requiring critics thus to engage with the specificities of particular collectivities even as they talk about the generalities of the filmic apparatus. According to one report, for instance, at the Society of Cinema Studies Annual Conference of 1998, “nearly half the over four hundred papers (read from morning to night in nine rooms) treated the politics of representing ethnicity, gender, and sexuality” (Andrew 348).' Western film studies, as Christine Gledhill and Linda Williams write, currently faces its own “impending dissolution […] in […] transnational theorization” (Introduction 1). How did this state of affairs arise?

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Lassi, Etienne-Marie. "L’impérialisme écologique ou la recolonisation par l’agriculture industrielle: Une lecture de La Banane de Franck Bieleu." International Journal of Francophone Studies 23, no. 3 (December 1, 2020): 263–73. http://dx.doi.org/10.1386/ijfs_00021_7.

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This article studies The Big Banana, a film by Cameroonian director Franck Bieleu, which shows how the intrusion of a cash crop such as bananas in a local environment brings about several ecological transformations with important sociocultural and ethical ramifications. Using concepts from ecocriticism to analyse the narrative structures of the film, the article explains how the Njombé Penja banana plantation (PHP), construed as a replica of the colonial model of production and spatial organization, leaves the local populations with a strong feeling of dispossession and alienation. It concludes that geographical and ecological forms of imperialism contributed, alongside sociopolitical issues, to the failure of the post-independence African utopia.

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Allan, Jonathan A. "The Foreskin Aesthetic or Ugliness Reconsidered." Men and Masculinities 23, no. 3-4 (March 4, 2018): 558–78. http://dx.doi.org/10.1177/1097184x17753038.

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This article argues that to understand the role and place of the foreskin, we must address the aesthetic question that sits at its root. North American media often describe the foreskin as “ugly,” “gross,” or pejoratively “European”; all of which present, fundamentally, an aesthetic comment on what is pleasing. As such, this article investigates the aesthetic discourse surrounding the foreskin in relation to a range of materials that speak at or around the foreskin. In particular, it looks at sources deemed to be “common”—sex manuals, pregnancy manuals, and film and television—alongside theoretical and scientific studies. Undertaking a close reading of these materials, this article sheds light on the striking similarities that these distinct bodies of literature share and the way that aesthetics undergirds their arguments, often as a silent statement rather than exerted forcefully. Through this argument, this article breaks new ground on the way that we consider the foreskin, and, importantly, the aestheticization processes that shape our understanding of this seemingly ancillary component of the penis. Accordingly, this article contributes to a growing body of scholarship on the politics of the foreskin and circumcision by shifting the debate to consider the aesthetic.

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Sanders, V. "Book Review: Sexual Visuality from Literature to Film, 1850-1950." Feminist Theory 6, no. 1 (April 1, 2005): 109–10. http://dx.doi.org/10.1177/146470010500600112.

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Hipkins, Danielle. "Why Italian Film Studies Needs A Second Take on Gender." Italian Studies 63, no. 2 (September 2008): 213–34. http://dx.doi.org/10.1179/007516308x344360.

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Toye, Fran, Kate Seers, and Karen Barker. "A meta-ethnography of health-care professionals’ experience of treating adults with chronic non-malignant pain to improve the experience and quality of health care." Health Services and Delivery Research 6, no. 17 (April 2018): 1–106. http://dx.doi.org/10.3310/hsdr06170.

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BackgroundPeople with chronic pain do not always feel that they are being listened to or valued by health-care professionals (HCPs). We aimed to understand and improve this experience by finding out what HCPs feel about providing health care to people with chronic non-malignant pain. We did this by bringing together the published qualitative research.Objectives(1) To undertake a qualitative evidence synthesis (QES) to increase our understanding of what it is like for HCPs to provide health care to people with chronic non-malignant pain; (2) to make our findings easily available and accessible through a short film; and (3) to contribute to the development of methods for QESs.DesignWe used the methods of meta-ethnography, which involve identifying concepts and progressively abstracting these concepts into a line of argument.Data sourcesWe searched five electronic bibliographic databases (MEDLINE, EMBASE, Cumulative Index to Nursing and Allied Health Literature, PsycINFO and Allied and Complementary Medicine Database) from inception to November 2016. We included studies that explored HCPs’ experiences of providing health care to people with chronic non-malignant pain. We utilised the Grading of Recommendations Assessment, Development and Evaluation Confidence in the Evidence from Reviews of Qualitative research (GRADE-CERQual) framework to rate our confidence in the findings.ResultsWe screened 954 abstracts and 184 full texts and included 77 studies reporting the experiences of > 1551 HCPs. We identified six themes: (1) a sceptical cultural lens and the siren song of diagnosis; (2) navigating juxtaposed models of medicine; (3) navigating the patient–clinician borderland; (4) the challenge of dual advocacy; (5) personal costs; and (6) the craft of pain management. We produced a short film, ‘Struggling to support people to live a valued life with chronic pain’, which presents these themes (seeReport Supplementary Material 1; URL:www.journalslibrary.nihr.ac.uk/programmes/hsdr/1419807/#/documentation; accessed 24 July 2017). We rated our confidence in the review findings using the GRADE-CERQual domains. We developed a conceptual model to explain the complexity of providing health care to people with chronic non-malignant pain. The innovation of this model is to propose a series of tensions that are integral to the experience: a dualistic biomedical model compared with an embodied psychosocial model; professional distance compared with proximity; professional expertise compared with patient empowerment; the need to make concessions to maintain therapeutic relationships compared with the need for evidence-based utility; and patient advocacy compared with health-care system advocacy.LimitationsThere are no agreed methods for determining confidence in QESs.ConclusionsWe highlight areas that help us to understand why the experience of health care can be difficult for patients and HCPs. Importantly, HCPs can find it challenging if they are unable to find a diagnosis and at times this can make them feel sceptical. The findings suggest that HCPs find it difficult to balance their dual role of maintaining a good relationship with the patient and representing the health-care system. The ability to support patients to live a valued life with pain is described as a craft learnt through experience. Finally, like their patients, HCPs can experience a sense of loss because they cannot solve the problem of pain.Future workFuture work to explore the usefulness of the conceptual model and film in clinical education would add value to this study. There is limited primary research that explores HCPs’ experiences with chronic non-malignant pain in diverse ethnic groups, in gender-specific contexts and in older people living in the community.FundingThe National Institute for Health Research Health Services and Delivery Research programme.

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Jones, Sophie. "Maternity on Film." Women: A Cultural Review 24, no. 4 (December 2013): 361–64. http://dx.doi.org/10.1080/09574042.2013.857961.

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Zonouzi, Leila. "Temporary Marriage in Iran: Gender and Body Politics in Modern Iranian Film and Literature." Journal of Middle East Women's Studies 17, no. 1 (March 1, 2021): 121–24. http://dx.doi.org/10.1215/15525864-8790280.

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Marcus, Laura. "Feminism and film theory." Women: A Cultural Review 1, no. 1 (April 1990): 50–52. http://dx.doi.org/10.1080/09574049008578019.

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Longacre, Jeffrey S., and E. Ann Kaplan. "Feminism and Film." Tulsa Studies in Women's Literature 21, no. 1 (2002): 129. http://dx.doi.org/10.2307/4149221.

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Kinsman, Margaret. "creolizing the metropole, migrant Caribbean identities in literature and film." Feminist Review 104, no. 1 (July 2013): e8-e10. http://dx.doi.org/10.1057/fr.2013.10.

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Hall, Sara. "Emancipatory Entertainments: Gender in Weimar Mass Culture." German Politics and Society 21, no. 3 (September 1, 2003): 120–29. http://dx.doi.org/10.3167/104503003782353394.

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Vibeke Rützou Petersen, Women and Modernity in Weimar Germany: Reality and Representation in Popular Fiction (New York: Berghahn, 2001)Richard C. McCormick, Gender and Sexuality in Weimar Modernity: Film, Literature, and “New Objectivity” (New York: Palgrave, 2001)

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Kuhn, Annette. "Elinor Glyn, Film History and Popular Culture: An Apologia." Women: A Cultural Review 29, no. 2 (April 3, 2018): 161–68. http://dx.doi.org/10.1080/09574042.2018.1447037.

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Ball, Anna. "Book Review: Lindsey Moore, Arab, Muslim, Woman: Voice and Vision in Postcolonial Literature and Film. London and New York: Routledge, 2008. 189 pp. (incl. index). ISBN 978—0—415—40416—7, £70 (hbk)." Feminist Theory 11, no. 2 (August 2010): 215–16. http://dx.doi.org/10.1177/1464700110366818.

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Tay, Sharon. "Constructing a Feminist Cinematic Genealogy: The Gothic Woman's Film beyond Psychoanalysis." Women: A Cultural Review 14, no. 3 (January 2003): 263–80. http://dx.doi.org/10.1080/0957404032000140380.

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Davidson, Roberta, and Mary Ann Doane. "The Desire to Desire: The Woman's Film of The 1940s." Tulsa Studies in Women's Literature 12, no. 2 (1993): 367. http://dx.doi.org/10.2307/463943.

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O’Dell, Emily. "Performing Trans in Post-Revolutionary Iran: Gender Transitions in Islamic Law, Theatre, and Film." Iranian Studies 53, no. 1-2 (May 20, 2019): 129–64. http://dx.doi.org/10.1080/00210862.2019.1572498.

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Johanyak, Debra, Jun Xing, and Lane Ryo Hirabayashi. "Reversing the Lens: Ethnicity, Race, Gender, and Sexuality through Film." African American Review 38, no. 1 (2004): 164. http://dx.doi.org/10.2307/1512245.

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Mankekar, P. "Brides Who Travel: Gender, Transnationalism, and Nationalism in Hindi Film." positions: east asia cultures critique 7, no. 3 (December 1, 1999): 731–62. http://dx.doi.org/10.1215/10679847-7-3-731.

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Crookston, Cameron. "Can I Be Frank with You?" GLQ: A Journal of Lesbian and Gay Studies 27, no. 2 (April 1, 2021): 233–52. http://dx.doi.org/10.1215/10642684-8871677.

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When Fox 21 Television Studios announced that Laverne Cox would play the role of Frank N. Furter in their 2016 The Rocky Horror Picture Show: Let’s Do the Time Warp Again, most public response circled around how Cox’s visible political identity as a trans woman spoke to the problematic nature of Rocky Horror’s language and dated identity politics. Released in 1975, Richard O’Brien and Jim Sharman’s The Rocky Horror Picture Show has been a touchstone of queer popular culture for more than forty years. Rocky Horror is constructed as a self- conscious pastiche of multiple cultural moments and queer coded pieces of popular culture; Gothic literature, classic Hollywood film, science fiction B movies, Glam Rock, and drag all mingle in the queer cultural collage that makes up the show’s dramaturgy. As such, the scope of Rocky Horror serves as a kind of performative queer archive, collecting and performing generations of queer culture. However, in addition to offering a dense collection of queer cultural artifacts, Rocky Horror has also inherited many of the complicated representational aspects of its sources, such as the racist coding and simultaneous racial erasure of Gothic and horror conventions as well as rapidly changing and often conflicted trans identity politics of the mid- twentieth century. These problematic appropriations and omissions become all the more salient in light of Cox’s 2016 performance. In this article, Crookston examines how Rocky Horror has functioned as a performative queer cultural archive and how Danny Ortega’s remake, starring Cox, challenges, complicates, and excavates O’Brien’s original historiographic dramaturgy.

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Flinn, Caryl. "Politics of the Self: Postmodernism and German Literature and Film. Richard McCormickFemmes Fatales: Feminism, Film Theory, Psychoanalysis. Mary Ann DoaneWomen and Soap Opera: A Study of Prime Time Soaps. Christine GeraghtyIn a Lonely Street: Film Noir, Genre, Masculinity. Frank Krutnik." Signs: Journal of Women in Culture and Society 19, no. 3 (April 1994): 786–91. http://dx.doi.org/10.1086/494927.

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Gaines, Jane. "White Privilege and Looking Relations: Race and Gender in Feminist Film Theory." Cultural Critique, no. 4 (1986): 59. http://dx.doi.org/10.2307/1354334.

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Song, Geng. "Masculinizing Jianghu Spaces in the Past and Present: Homosociality, Nationalism and Chineseness." NAN Nü 21, no. 1 (June 18, 2019): 107–29. http://dx.doi.org/10.1163/15685268-00211p04.

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Abstract Jianghu (rivers and lakes) refers to the imagined spatial arena in Chinese literature and culture that is parallel to, or sometimes in a tangential relationship with, mainstream society. Inhabited by merchants, craftsmen, beggars and vagabonds, and later bandits, outlaws and gangsters, the jianghu space constitutes an interesting “field” (to borrow Pierre Bourdieu’s term) that produces alternative subjectivities in traditional Chinese culture. In most representations, jianghu is primarily a homosocial world of men, which honors masculine moral codes. By tracing changes of jianghu spaces over time, this paper attempts to set the spatial politics of masculinity in Chinese culture in a historical context. It unravels its dynamic interrelations with the tropes of class and nation, from the hosting of outlaws in the traditional masterpiece Shuihu zhuan (Water margin) to the resurgence of jianghu images and imaginaries as a symbol of Chineseness in post-socialist film and television. It argues that the widely referenced relationship between civil (wen) and martial (wu ) values in imperial China describes only gentry-class masculinities. By contrast, jianghu spaces lie at the margins of society and so invite an alternative conceptualization of lower-class masculinities. In contemporary China, jianghu has come to symbolize a new mode of Chinese masculinity in the global age. It can refer not only to fictional spaces in the martial arts genre, but also to social spaces that cement the “Chinese-style” relationships and networks needed for success in the reform market.

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Joynt, Chase. "Film Review: Real Boy." Men and Masculinities 21, no. 5 (October 1, 2018): 761–63. http://dx.doi.org/10.1177/1097184x18803667.

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Tourage, Mahdi. "The Eighth Biennial Conference of the International Society for Iranian Studies." American Journal of Islam and Society 27, no. 3 (July 1, 2010): 147–49. http://dx.doi.org/10.35632/ajis.v27i3.1323.

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The Eighth Biennial Conference of the International Society for IranianStudies (ISIS), the largest international gathering of scholars in the field, washeld in Santa Monica, CA, on 27-30 May 2010. There were sixty-four panels,each with three to four presenters addressing topics ranging from literature,Shi`ism and Sufism, to modernity, politics, women and gender. Amongthe ones that I found most interesting were “Women’s Worlds in Qajar Iran,”“Engagements with Reason: Shi`ism and Iran’s Intellectual Culture,” “PersianLiterary and Cinematic Representations of a Society in Transition,”“Shi’i Modernity, Constitutionalism, Elections, and Factional Politics,”“Reconstructing the Forgotten Female: Women in the Realm of the Shahnama,”“Zones of Exploration: Society, Literature, and Film,” “Re-ReadingIranian Shi`ism: International and Transnational Connections and Influence,”“The Politics of the Possible in Iran,” “Women’s Issues in ModernIran (in Persian),” “Discourses on Self And Other,” and “Sufism: Poetry andPractice.”Also featured were classical Persian music presentations and additionalroundtable discussions. One telling example of often overlooked aspects ofIranian society was “‘Waking Up the Colours: Candour and Allegory inWomen’s Rap Texts,” a paper on Iranian women’s rap music. Presenter GaiBray, an ethnomusicologist, argued that unlike the common conception ofrap as direct language, Iranian female rappers often use allegory to deal withdifficult subject matters, such as rape and prostitution. In another memorablepaper Babak Rahimi (University of California, San Diego) argued thatBushehr’s commemoration of Ashura serves to solidify communal identity.The ritual ends by burning the stage upon which the performances tookplace, signifying a communal act of creative destruction through which newidentities are reconstructed via building new ritual sites ...

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Sherzer, Dina. "Fear of the Dark: "Race," Gender, and Ethnicity in the Cinema. Lola YoungPhantasmatic Indochina: French Colonial Ideology in Architecture, Film, and Literature. Panivong Norindr." Signs: Journal of Women in Culture and Society 24, no. 2 (January 1999): 550–53. http://dx.doi.org/10.1086/495363.

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Hargreaves, Tracy. "The Power of the Ordinary Subversive in Jackie Kay's Trumpet." Feminist Review 74, no. 1 (July 2003): 2–16. http://dx.doi.org/10.1057/palgrave.fr.9400068.

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In Jackie Kay's award-winning novel, Trumpet (1998), the main character Joss Moody, a celebrated jazz trumpet player, is discovered upon his death to be anatomically female. The essay traces both postmodern and humanist affirmations of constructions of self-hood. Situating Virginia Woolf's version of a metaphysical and escapist androgyny as one kind of aesthetic against the material politics of the transgendered subject, the essay argues that Kay's novel can be seen as part of a 20th century tradition of literature and film which satirizes, parodies and painfully exposes the discontinuities of dominant sex–gender systems. The essay ends by arguing that Kay also develops these systems by imbricating sex and gender within a series of dislocated familial, sexual and racial identities, beginning with the arrival of Joss's African father in Scotland at the beginning of the 20th century.

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Marchesini, Manuela. "‘In Italy the dead rule’: Marco Bellocchio’s ‘Italian difference’ between Manzoni–Camerini and Bene–Godard." Forum Italicum: A Journal of Italian Studies 48, no. 3 (August 8, 2014): 363–97. http://dx.doi.org/10.1177/0014585814540422.

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In his film The Wedding Director (2006), Marco Bellocchio expresses his view of the ‘Italian difference’ that demarcates this national tradition from others with the refrain ‘In Italy the dead rule.’ This adage is repeated throughout his film and provides the motivation behind it. For Bellocchio, the dead in question belong primarily, though not solely, to the Italian parochial heritage exemplified by Alessandro Manzoni’s The Betrothed (1840), and in particular by Mario Camerini’s film adaptation of the same novel (1941). In The Wedding Director, Bellocchio enacts yet another, albeit eclectic, adaptation of these palimpsests, desecrating them and the values they supposedly stand for. Crowned by a happy ending, The Wedding Director surpasses its targets, advocating for their visual and conceptual inadequacy. This essay analyzes Bellocchio’s film using a theoretical approach that I see articulated in two critical texts and four creative instances. Firstly, I analyze The Wedding Director in light of the concepts that Gilles Deleuze used for Carmelo Bene’s adaptations of classic works; secondly, through Richard Neer’s 2007 reflections on Jean-Luc Godard’s Histoire(s) du cinéma. My analyses result in a dual interpretation of Bellocchio’s film. I argue that in The Wedding Director Bellocchio enters into conversation with and implements the ideas of the intellectuals and artists mentioned above. He sets off from the conclusion of Federico Fellini’s 8 1/2. Nevertheless, The Wedding Director is also marred by ambiguities that, although perhaps unavoidable, detract from his accomplishments. Those ambivalences involve the issue of gender relations, which – as Bellocchio himself declares – are at the core of his concerns in The Wedding Director. I argue that on the one hand Bellocchio’s film is an empowering Deleuzian or Godardian adaptation of Manzoni’s source text. On the other, it may also be construed as professing an opportunistic, if not downright cynical, view of gender relations. While the film presents the audience with a principled Deleuzian becoming-minority as a becoming-woman, it nonetheless declines the responsibility of distinguishing victim from perpetrator. By leaving this issue an open question for the audience to decide, the film renders the question ultimately insoluble. The goals that Bellocchio professes and the diagnosis he offers in The Wedding Director are valuable and deserve credit. Without question, the film is a stunning cinematographic feat. However, a self-indulgent streak undercuts the viewer’s satisfaction. Unless we surpass irony (as the film attempts), we, regardless of our gender, will hardly be free from the hold of the dead, be they Italian or of any other nationality.

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Mackereth, Kerry. "Mechanical Maids and Family Androids: Racialised Post-Care Imaginaries in Humans (2015–), Sleep Dealer (2008) and Her (2013)." Feminist Review 123, no. 1 (November 2019): 24–39. http://dx.doi.org/10.1177/0141778919879771.

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Feminist investigations into caring technologies emphasise the tension between their reproduction of care’s assumed femininity and their ability to destabilise gendered markers and systems. However, the existing literature ignores the historical racialisation of care and its perpetuation in the form of the posthuman caring object. This article examines how racialised relations of power shape the posthumanisation of care in three science-fiction works, Channel 4’s television show Humans (2015), Alex Riviera’s film Sleep Dealer (2008) and Spike Jonze’s film Her (2013). While Her’s disembodied operating systems are premised upon an implicit whiteness, posthuman caring objects in Humans and Sleep Dealer take a racialised, embodied form. Drawing upon the work of Saidiya Hartman and Fred Moten, this article examines how the racialised objects in Humans and Sleep Dealer are constituted as both labourers and commodities, purchased for the purpose of facilitating white reproductivity. Nonetheless, this article also documents how these caring technologies complicate key binaries such as subject/object, human/machine and productive/reproductive labour. In doing so, they disrupt the whiteness of the social reproduction paradigm. The article concludes by calling for greater feminist engagement with the racialisation of care labour in human and posthuman forms, in order to challenge white, heterosexual models of reproductivity based upon the exploitation of racialised labour.

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Mi-Hyun, Ahn. "Grimms Märchen in Korea." Fabula 62, no. 1-2 (July 1, 2021): 8–35. http://dx.doi.org/10.1515/fabula-2021-0002.

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Zusammenfassung Dieser Bericht gibt einen Überblick über die wissenschaftliche, aber auch die politische Rezeption der Kinder- und Hausmärchen (KHM) in Korea seit 1910 bis heute. Vor dem Hintergrund kolonialer, gesellschaftlicher und kultureller Verhältnisse wurden Grimms Märchen immer wieder aufgegriffen und übersetzt. Drei Probleme waren dabei zentral: die Frage der nationalen Selbstständigkeit und der Volksaufklärung unter japanischer Herrschaft bis 1945; die Frage der Individualisierung mitsamt Identitätskonflikten im Zuge der Industrialisierung und Verstädterung in den 1970er und 1980er Jahren; die Gender-Perspektive seit den 1990er Jahren. Darüber hinaus betrachtete man die KHM seit 2000 oft im Zusammenhang mit ihrer medialen Umsetzung wie E-Book, Animation, Film, Webtoon. Forschungen zu diesen Problemkreisen finden in Korea in zahlreichen Disziplinen statt, allen voran in der Germanistik und in der Koreanistik, sodann in der Allgemeinen und Vergleichenden Literaturwissenschaft, der Linguistik, der Erziehungswissenschaft, der Psychologie sowie in der Medien- und Kulturwissenschaft. Koreanische Wissenschaftler haben Ergebnisse aus westlichen Studien nicht nur eifrig rezipiert, sondern auch mit eigenen Untersuchungen zur Erforschung der KHM beigetragen.

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Lionnet, Françoise. "The Politics of the Essay: Feminist Perspectives. Ruth-Ellen Boetcher Joeres , Elizabeth MittmanTelling Women's Lives: The New Biography. Linda Wagner-MartinRecasting Autobiography: Women's Counter Fictions in Contemporary German Literature and Film. Barbara Kosta." Signs: Journal of Women in Culture and Society 21, no. 2 (January 1996): 459–63. http://dx.doi.org/10.1086/495074.

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de Medeiros, Paulo. "Lusophony or the Haunted Logic of Postempire." Lusotopie 17, no. 2 (December 13, 2018): 227–47. http://dx.doi.org/10.1163/17683084-12341720.

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AbstractLusophony is a neo-colonial concept that only emerges once the Empire is irrevocably dissolved. Whereas Lusophony cannot escape its neo-colonial entanglements, Lusotopy, on the contrary, strives precisely not only to go beyond, but against them. This article reflects on the ways in which literature, film, or ‘tuga’ hip-hop music, strive to advance transnational forms of resistance to unending and ever renewed kinds of oppression. Focusing on Lusotopy one can hope to work towards constructing a different future that builds on all the riches and all the wounds, many not yet healed, of the intersections derived from Portuguese colonialism.

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Benítez-Galbraith, Jacqueline, Elizabeth Irvin, and Craig S. Galbraith. "Gender Images and the Evolution of Work Roles in Mexican Film: A Pilot Content Study of Pre- and Post-NAFTA Periods." Hispanic Research Journal 12, no. 2 (April 2011): 167–83. http://dx.doi.org/10.1179/174582011x12943155134346.

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Balthaser, Benjamin. "Horror Cities." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 1 (May 1, 2020): 139–59. http://dx.doi.org/10.1215/02705346-8085147.

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In both art and politics, the deindustrialized city would seem to have taken on the qualities of the “unrepresentable,” a traumatic experience that can only be recorded by its attendant silence, or of depoliticized representation in genres such as “ruin porn.” Despite or perhaps because of this, the postindustrial city is ubiquitous within the genres of scifi/speculative, fantasy, and horror cinema, appearing consistently as backdrop, symbol, animus, and even in some cases, character. Given the wide literature on horror film, haunting, and traumatic memory, this article suggests we read the emergence of the “horror city” as a representation of the political unconscious of this historical conjuncture. Many films refer back to older mythologies of imperial and racial conquest, but also by doing so represent the symbol of modernity—the city—as travel back to a traumatic past. Yet within this return to history, there is a contest over allegory. Contrasting neoconservative narratives of films like The Road (dir. John Hillcoat, US, 2009) and the slasher film Hostel (dir. Eli Roth, US/Germany/Czech Republic/Slovakia/Iceland, 2005) suggests that the future has not vanished but rather has been spatially dislocated to the peripheries, as the modern site of production returns to inflict pain only on those unaware of its existence. And perhaps more radical still, two independent films, Vampz (dir. Steve Lustgarten, US, 2004) and Hood of the Living Dead (dir. Eduardo and Jose Quiroz, US, 2005), suggest that the abandoned city is still a site for the basic labor of human reproduction even as the infrastructure of full employment has vanished. As a counternarrative to both “ruin porn” and the “horror city,” these low-budget films offer the deindustrialized city as a site of mutuality and political contestation rather than a mystified object of horror and abjection.

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Wild, Jana B. "On a Romantic Island: Shakespeare and Mamma mia." Multicultural Shakespeare: Translation, Appropriation and Performance 20, no. 35 (December 30, 2019): 151–61. http://dx.doi.org/10.18778/2083-8530.20.11.

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The paper concerns the blockbuster musical film Mamma mia, loosely using some of Shakespearean patterns, topoi and plots. Set on a small Greek island, idylic and exotic, the film offers a contemporary romantic story with new/reversed roles in terms of gender, parenthood, sexuality, marriage and age, pointing to a different cultural paradigm. While the Shakespearean level is recast, remixed and probably less visible, the priority is given to the utopia of the 1970s and to the question of its outcome and transformation.

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Mirowska, Paulina. "Eroticism and Justice: Harold Pinter’s Screenplay of Ian McEwan’s "The Comfort of Strangers"." Text Matters, no. 3 (November 1, 2013): 171–85. http://dx.doi.org/10.2478/texmat-2013-0033.

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A careful analysis of Harold Pinter’s screenplays, notably those written in the 1980s and early 1990s, renders an illustration of how the artist’s cinematic projects supplemented, and often heightened, the focus of his dramatic output, his resolute exploration of the workings of power, love and destruction at various levels of social interaction and bold revision of received values. It seems, however, that few of the scripts did so in such a subtle yet effective manner as Pinter’s intriguing fusion of the erotic, violence and ethical concerns in the film The Comfort of Strangers (1990), directed by Paul Schrader and based on Ian McEwan’s 1981 novel of the same name. The article centres upon Pinter’s creative adaptation of McEwan’s deeply allusive and disquieting text probing, amongst others, the intricacies and tensions of gender relations and sexual intimacy. It examines the screenplay—regarded by many critics as not merely an adaptation of the novel but another, very powerful work of art—addressing Pinter’s method as an adapter and highlighting the artist’s imaginative attempts at fostering a better appreciation of the connections between authoritarian impulses, love and justice. Similarly to a number of other Pinter filmscripts and plays of the 1980s and 1990s, the erotic and the lethal alarmingly intersect in this screenplay where the ostensibly innocent—an unmarried English couple on a holiday in Venice, who are manipulated, victimized and, ultimately, destroyed—are subtly depicted as partly complicit in their own fates.

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Martínez-García, Laura. "Transgressing Geographical and Gender Borders: A Study of Alternative Manhoods in Yosemite’s Climbing History." Miscelánea: A Journal of English and American Studies 62 (January 25, 2021): 49–68. http://dx.doi.org/10.26754/ojs_misc/mj.20205151.

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The last few years have been eventful as far as mountaineering in Yosemite is concerned with the soloing of el Cap and the freeing of the Dawn Wall. The documentary film Valley Uprising: Yosemite’s Rock Climbing Revolution (Mortimer et al. 2014) not only traces the history of climbing in the Park but offers a more profound analysis of the evolution of society and gender roles in America in the last half-century, showing that, although the Valley is fairly isolated from urban communities, it is by no means disconnected from the ideological, political and cultural revolutions that the country has lived through. Yosemite is, in actual fact, a liminal space where gender roles and identities are contested, contracted and re-formulated. This article analyses three differing climbing styles that have dominated Yosemite in the 20th century, to prove that they overstep the physical borders of the territory and that each becomes paradigmatic of the dissenting masculinities that have continuously threatened the establishment outside the geographical limits of the Park. This genealogy of the particular masculinities of each group allows us to see that these manhoods —perceived as deviant or dissenting outside the Park— were, for insiders, the normative modes of being a man.

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Brioni, Cecilia. "Shorn capelloni: hair and young masculinities in the Italian media, 1965–1967." Modern Italy 25, no. 1 (June 17, 2019): 3–16. http://dx.doi.org/10.1017/mit.2019.25.

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In the period between 1965 and 1967, a series of acts of violence took place against Italian capelloni (young men with long hair). These attacks frequently ended with an attempted or actual cutting of these young men's hair. This article analyses how these incidents were represented in newspapers, teen magazines, and in the short film Il mostro della domenica by Steno (Stefano Vanzina, 1968) featuring Totò. Drawing on literature about the shaving of French and Italian collaborationist women in the aftermath of the Second World War (Virgili 2002), it explores the potential gender anxieties caused by young men's long hairstyles, as represented by the media. The attacks on the capelloni are interpreted as a punishment for the male appropriation of a traditionally feminine attribute of seduction: the cutting of young men's hair symbolically reaffirmed an ideal of virile masculinity in a moment of ‘decline of virilism’ (Bellassai 2011) in Italian society.

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Journal articles on the topic 'Literature|Gender studies|Film studies'

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