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1

Rutledge, Jill Zimmerman. Picture perfect: What you need to feel better about your body. Deerfield Beach, FL: Health Communications, 2007.

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2

Monroe, Mary Alice. Girl in the mirror. Don Mills, Ont: MIRA, 2004.

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Monroe, Mary Alice. Girl in the mirror. Don Mills, Ont: MIRA, 1998.

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Monroe, Mary Alice. Girl in the Mirror. Toronto, Ontario: MIRA, 2008.

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Monroe, Mary Alice. Girl in the mirror. Waterville, ME: Wheeler Pub., 2004.

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6

Willcox, Katie H. Healthy Is the New Skinny: Your Guide to Healthy Body Image in a Picture-Perfect World. Hay House UK, Limited, 2017.

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7

Keaton, Diane. Let's just say it wasn't pretty. Random House, 2014.

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8

Keaton, Diane. Let's just say it wasn't pretty. Random House Large Print, 2014.

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9

Keaton, Diane. Let's Just Say It Wasn't Pretty. Random House Audio, 2014.

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10

Rutledge, Jill Zimmerman, and Jill Zimmerman Rutledge M. S. W. LCSW. Picture Perfect: What You Need to Feel Better About Your Body. HCI, 2007.

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11

Clark, Eliza. Butterflies and Bottlecaps. HarperAudio, 1996.

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12

Clark, Eliza. Butterflies and Bottlecaps. HarperCollins Publishers, 1997.

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13

Girl in the Mirror. MIRA, 2004.

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14

Healthy Is the New Skinny: Your Guide to Self-Love in a Picture Perfect World. Hay House, Incorporated, 2017.

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15

Picture Me. James Lorimer & Company Ltd., Publishers, 2013.

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16

Body In Question Image And Illusion In Two Chinese Films By Director Jiang Wen. Princeton University Press, 2008.

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17

Wells, Marion. Philomela’s Marks. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0015.

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This essay explores the significance of the mutual imbrication of ekphrasis and sexual violence in Shakespeare’s poetry. Beginning with a discussion of Philomela’s substitution of a woven picture (the teasingly opaque ‘purpureas notas’) for an oral account of violence in Ovid’s Metamorphoses, I analyse Shakespeare’s revision of this foundational story in Titus Andronicus. Arguing that in Shakespeare’s work ekphrasis functions as a gendered site of contestation between image and word in which the feminine image is organized and contained by the masculine ‘noting’ of an artist figure, I consider how Shakespeare’s other extensive use of the Philomela story in Cymbeline clarifies this pattern. My final texts, The Rape of Lucrece and The Winter’s Tale, allow me to unpack more fully the function of ekphasis in drawing attention to the predication of poetic representation on the abjection of the female body.
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Mollaghan, Aimee. Rebalancing the Picture-Sound Relationship. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0011.

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This chapter explores how experimental filmmaker Lis Rhodes subverts the hegemonic relationship between sound and image across her body of moving image work in order to highlight and address inequitable power structures and the absence of the female voice in music and society. This is achieved on a material level by translating the optical soundtrack into visual presentations in her direct animation Dresden Dynamo (1971–72) and within an expanded, performative context in her audiovisual composition Light Music (1975). Further to this, Rhodes’s later films, Light Reading (1978) and A Cold Draft (1988), continue to rebalance the audiovisual relationship by giving countenance to the female voice, acousmatised from the images presented on screen.
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