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Indriyana, Titik, and Choirul Ulil Albab. "Blaming the victim: Representation the victim of rape in M.F.A film." Informasi 50, no. 1 (August 4, 2020): 46–57. http://dx.doi.org/10.21831/informasi.v50i1.27861.
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The media in representing rape victims is still gender biased, such as blaming the victim. This study aims to find out how female victims of rape are shown in the M.F.A film by using semiotics to analyze the structure and ideology contained in the text. The theory used by researchers to analyze texts (M.F.A.) is the concept of radical feminism. The results of the research show in the M.F.A. film, women are shown as sexual objects of men. Women are represented as having to accept anything, including their fate when raped by men. They are not given the strength to resist and only accept it. Even in the eyes of the public and the law, women who are rape victims are still weak and are actually cornered (Blaming the Victim). Reports of rape are considered fabricated and have no strong evidence. In the film M.F.A. women who demanded their rights were silenced, by patriarchal ideologies. What's worse is the silence of a woman, because they have been hegemony in patriarchal ideologyMedia dalam merepresentasikan korban perkosaanmasih bias gender. Bahkan menyalahkan korban (Blaming The Victim). Penelitian ini bertujuan untuk mengetahui bagaimana perempuan korban perkosaan ditampilkan dalam film M.F.A dengan menggunakan semiotika untuk menganalisis struktur dan ideologi yang terdapat di dalam teks. Konsep yang digunakan peneliti untuk menganalisis teks (Film M.F.A.) adalah feminisme radikal. Feminis radikal berpendapat, perempuan harus memiliki kendali atas tubuh mereka.Hasil penelitian menunjukkan dalam Film M.F.A., perempuan diperlihatkan sebagai objek seksual dari laki-laki. Perempuan direpresentasikan harus menerima apapun, termasuk nasibnya ketika diperkosa oleh laki-laki. Mereka tidak diberikan kekuatan untuk melawan dan hanya menerimanya. Di mata masyarakat dan hukum pun, perempuan korban perkosaan masih lemah dan justru disudutkan (Blaming the Victim). Laporan mengenai perkosaan dianggap mengada-ada dan tidak memiliki bukti yang kuat. Dalam Film M.F.A. perempuan yang menuntut hak-haknya dibungkam, oleh ideologi-ideologi patriarki. Yang lebih parah lagi adalah yang membungkam juga seorang perempuan, karena mereka telah terhegemoni ideologi patriarki.
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Spallacci, Amanda. "Representing Rape Trauma in Film: Moving beyond the Event." Arts 8, no. 1 (January 9, 2019): 8. http://dx.doi.org/10.3390/arts8010008.
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Trauma theorists foreground the unrepresentability of trauma; however, with modern innovations in visual representation, such as the photograph and cinema, depictions of trauma have begun to circulate across different mediums for a variety of audiences. These images tend to problematically present the traumatic event rather than the effects of trauma, such as traumatic memory. Specifically, some contemporary Hollywood popular films and television series that include rape as their subject matter often include a rape scene that can evoke affects such as disgust or empathy, and while these affects can last the duration of the film, they fail to shift popular discourses about rape because affect is more productive when it focuses on effects instead of events. As trauma studies has shifted to memory studies in the Humanities, and rape has become more prominent in popular culture through the circulation of personal testimony on social media and memoir, depictions of rape in cinema have slowly started to change from presentations of rape scenes to representations of rape trauma that highlight different affects, such as shame. Using Monster (2003), Girl with the Dragon Tattoo (2011), Room (2015), and the television series, 13 Reasons Why (2017) and Sharp Objects (2018) as case studies, this paper argues that, for an audiovisual depiction of rape to shift popular discourses about rape, it would have to function rhetorically to widen the cultural understanding of rape trauma beyond the event, and demonstrate that rape trauma should be understood as part of the personal, unconscious, cultural, and visual mediation of traumatic memory.
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Projansky, Sarah. "The Elusive/Ubiquitous Representation of Rape: A Historical Survey of Rape in U.S. Film, 1903-1972." Cinema Journal 41, no. 1 (2001): 63–90. http://dx.doi.org/10.1353/cj.2001.0023.
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Asrita, Stara. "Konstruksi Feminisme Perempuan Sumba." ARISTO 7, no. 1 (December 17, 2018): 147. http://dx.doi.org/10.24269/ars.v7i1.1388.
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In much feminist literatures show that women often have been underneath men power. This study aims to analyze about women representation in film “Marlina si Pembunuh dalam Empat Babak”. The method is critical discourse to see hidden contexts in this film with a gender perspective. Some scenes show that woman had a choice to protect herself. The main character of this film, Marlina tried to give a poison and murdered the thieves who want to robber and rape her. Those Marlina’s acts were different if we comparing with women stereotype that existed. Women were described as a second person, gentle and depend on men. The feminist movement in this film show women’s emancipation in social life, struggle to protect her body and family problems in Sumba’s woman.
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Guarinos, Virginia, and Inmaculada Sánchez-Labella Martín. "Masculinity and Rape in Spanish Cinema: Representation and Collective Imaginary." Masculinities & Social Change 10, no. 1 (February 21, 2021): 25. http://dx.doi.org/10.17583/mcs.2021.5608.
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Commercial cinema in Spain, as in the rest of the world, has gone to great lengths to describe visually, without any intention of protest, each and every one of the forms of violence against women: physical, psychological, financial, social and, lastly, sexual. Beyond insinuating and intimidating compliments and gazes, sexual violence is something that is excepted in scripts, even in those of famous directors who create powerful female characters. The aim of this paper is to know how the Spanish directors, of both sexes, represent the topic of sexual violence, paying attention to the masculinity of the characters. To this end, a content analysis was performed on twelve films from a narrative perspective. In a second stage, employing methodological triangulation and a questionnaire as a quantitative tool, university students were asked about how they perceived the scenes of sexual violence in these films. The results show, on one side, that rape is the act of sexual violence more represented and, on the other hand, a lack of awareness about the treatment of rape in Spanish cinema, as well as its rejection by young audiences.
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Vuković, Vesi. "Violated sex: rape, nation and representation of female characters in Yugoslav new film and black wave cinema." Studies in Eastern European Cinema 9, no. 2 (February 12, 2018): 132–47. http://dx.doi.org/10.1080/2040350x.2018.1435204.
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Mitchell, Claudia. "Feminist Activism against Rape Culture." Girlhood Studies 14, no. 1 (March 1, 2021): v—vi. http://dx.doi.org/10.3167/ghs.2021.140101.
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I met Roxanne Harde, the guest editor of this Special Issue, at the Second International Girls Studies Association conference in 2019 when I attended the panel discussion, “Representations of Rape in Young Adult Fiction.” I recall Roxanne’s passion vividly and, indeed, the enthusiasm of all three presenters as they discussed a variety of texts in superb presentations that aligned well with Ann Smith’s notion of feminism in action in their seeing “a fictional text not only as a literary investigation into issues of concern to its author but also as the site of educational research” (2000: 245). Their papers pointed to the ways in which the analysis of how rape culture is treated in Young Adult (YA) literature, film, and the print media can take scholars and activists so much further into the issues, and, at the same time, noted the ways in which rape culture in all its manifestations as a global phenomenon has inevitably led to its becoming an everyday topic of YA fiction.
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Ferreday, Debra. "‘Only the Bad Gyal could do this’: Rihanna, rape-revenge narratives and the cultural politics of white feminism." Feminist Theory 18, no. 3 (July 28, 2017): 263–80. http://dx.doi.org/10.1177/1464700117721879.
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In July 2015, Rihanna released a seven-minute long video for her new single, entitled ‘Bitch Better Have My Money’ (more widely known as ‘BBHMM’), the violent imagery in which would divide feminist media commentators for its representation of graphic and sexualised violence against a white couple. The resulting commentary would become the focus of much popular and academic feminist debate over the intersectional gendered and racialised politics of popular culture, in particular coming to define what has been termed ‘white feminism’. ‘BBHMM’ is not the first time Rihanna’s work has been considered in relation to these debates: not only has she herself been very publicly outed as a survivor of male violence, but she has previously dealt with themes of rape and revenge in an earlier video, 2010’s ‘Man Down’, and in her lyrics. In this article I explore the multiple and layered ways in which Rihanna, and by extension other female artists of colour, are produced by white feminism as both responsible for perpetrating gender-based violence, and as victims in need of rescue. The effect of such liberal feminist critique, I argue, is to hold black female artists responsible for a rape culture that continually subjects women of colour to symbolic and actual violence. In this context, the fantasy violence of ‘Man Down’ and to a greater extent ‘BBHMM’ dramatises the impossibility of ‘being paid what one is owed’ in a culture that produces women of colour’s bodies, morality and personal trauma as abjected objects of consumption. I read these two videos through the lens of feminist film theory in order to explore how such representations mobilise affective responses of shame, identification and complicity that are played out in feminist responses to her work, and how their attachment to a simplistic model of representation conceals and reproduces racialised relations of inequality.
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Ikhsano, Andre, and Jakarudi Jakarudi. "Representation of Black Feminism in Hidden Figures." Nyimak: Journal of Communication 4, no. 2 (September 24, 2020): 169. http://dx.doi.org/10.31000/nyimak.v4i2.2358.
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Hidden Figures is a film based on the true story of three African American women who help NASA in the space race. The three African American women are Katherine G. Johnson, Mary Jackson, and Dorothy Vaughan. With the setting of the 1960s era, these three women are fighting against a climate of segregation (separation based on race or skin color) in their work environment (NASA). This study aims to explore Patricia Hill Collins’ theory of black feminism and to integrate it with Stella Ting-Toomey’s theory of face-negotiation. This research is based on a critical paradigm and uses a qualitative approach. Using Sara Mills’s critical discourse analysis as a data analysis technique, this study found a representation of black feminism in the film Hidden Figures. The discrimination experienced by the characters is in the form of racism, sexism, and classism. However, the resistance carried out by the characters is through self definition, not in safe spaces as mentioned by Collins. The characters also do not avoid conflict, but use a negotiation approach with a compromising style to achieve a win-win solution.Keywords: Black feminism, face-negotiation, racism, sexism, classism ABSTRAKHidden Figures adalah film yang diangkat berdasarkan kisah nyata tiga perempuan Afro-Amerika yang membantu NASA dalam space race. Ketiga perempuan Afro-Amerika itu adalah Katherine G. Johnson, Mary Jackson, dan Dorothy Vaughan. Dengan setting waktu era 1960-an, ketiga perempuan ini berjuang melawan iklim segregasi (pemisahan berdasarkan pada ras atau warna kulit) di lingkungan kerja mereka (NASA). Penelitian ini bertujuan untuk mendalami teori black feminism Patricia Hill Collins dan hendak mengintegrasikannya dengan teori face-negotiation Stella Ting-Toomey. Penelitian ini didasarkan pada paradigma kritis dan menggunakan penekatan kualitatif. Menggunakan analisis wacana kritis Sara Mills sebagai teknik analisis data, penelitian ini menemukan representasi black feminism di dalam film Hidden Figures. Diskriminasi yang dialami para tokoh adalah berupa racism, sexism, dan classism. Akan tetapi, perlawanan yang dilakukan para tokoh adalah melalui self definition, tidak dilakukan dalam safe spaces sebagaimana disinggung oleh Collins. Para tokoh juga tidak menghindari konflik, namun menggunakan pendekatan negosiasi dengan gaya compromising style dalam mencapai win-win solution.Kata Kunci: Black feminism, face-negotiation, racism, sexism, classism
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Gupta-Cassale, Nira. "Bearing Witness: Rape, Female Resistance, Male Authority and the Problems of Gender Representation in Popular Indian Cinema." Indian Journal of Gender Studies 7, no. 2 (September 2000): 231–48. http://dx.doi.org/10.1177/097152150000700206.
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Indian cinema in its preoccupation with rape shows a parallel between feminist resistance and nationalist resistance. While Mirch Masala (1985), set in pre-Independence rural India, is able to draw upon a mythology of nationalist resistance, which also, at the same time, 'sanctions and mediates the potentially subversive politics of female resistance', later films like Zakhmi Aurat (1988) and Damini (1993) qualify women's autonomous resistance by including male partners to witness, support and legitimise their actions. We conclude that in popular cinema 'the more radical the gesture of resistance, the more conservative the resolution'. All the same, as fanta sised reactions to rape enacted by women, they engage the politics of female resistance in ways that are relevant to our feminist understanding.
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Cullhed, Sigrid Schottenius. "IN BED WITH VIRGIL: AUSONIUS’WEDDING CENTOAND ITS RECEPTION." Greece and Rome 63, no. 2 (September 16, 2016): 237–50. http://dx.doi.org/10.1017/s0017383516000115.
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Judging from its history of effect, theWedding Centoproduced by the fourth-century poet Ausonius is in fact not a poem about a wedding at all. It is a work about the ethics of textual recycling; about the impact of political power and patronage on literary production; about smut, or rather about where the responsibility lies when a reader sees smut when none was intended. It is also a poem about sexual violence, but this aspect of the text has been largely missing in its scholarly reception. Such an absence is perhaps to be expected. Sexual assault is a notoriously under-reported offence, and its invisibility tends to extend into the realm of artistic representation and its scholarly treatment. During the last couple of decades, for instance, film scholars have addressed the need to re-read cinematic portrayals of rape in order to unearth it from ‘metaphor and euphemism, naturalized plot device and logical consequence…restoring rape to the literal, to the body: restoring that is, the violence – the physical, sexual violation’. This issue must be addressed here, but first a few words about theCentoand the most prominent trends in its reception.
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Benhamou, Eve, and Eve Benhamou. "From the Advent of Multiculturalism to the Elision of Race: The Representation of Race Relations in Disney Animated Features (1995-2009)." Exchanges: The Interdisciplinary Research Journal 2, no. 1 (August 27, 2014): 153–67. http://dx.doi.org/10.31273/eirj.v2i1.106.
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As one of the most powerful purveyors of entertainment in the world, the Disney company has produced blockbuster films, including animated features that have enjoyed enduring popularity. Reflecting and shaping to some extent American popular culture and ideology, they have left vivid images in our memory. Arguably, one of Disney’s most ubiquitous symbol is the beautiful white princess. The representation of race relations in Disney films has always been problematic, sometimes sparking heated debates: non-white characters were either absent or stereotypically portrayed. Nonetheless, in parallel with the advent of multiculturalism in the 1990s, a series of films have foregrounded a new approach on these portrayals, the most notable being Pocahontas (1995), Atlantis (2001), and The Princess and the Frog (2009). In this article, I will examine the evolution of the representation of race, focusing on the film texts and their historical and cultural context, production history, and critical reception. I will argue that the apparent messages of tolerance and promotion of multiculturalism were accompanied and slowly replaced by a colour-blind erasure of race.
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Stockbridge, Sally. "Rape and representation: the regulation of Hong Kong films in Hong Kong and Australia." Asian Studies Review 17, no. 3 (April 1994): 43–49. http://dx.doi.org/10.1080/03147539408712949.
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Lewis, Desiree. "Static: race and representation in post-apartheid music, media and film." South African Theatre Journal 27, no. 1 (January 28, 2014): 76–78. http://dx.doi.org/10.1080/10137548.2014.876717.
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Covey, William B. "Reckoning Day: Race, Representation, and Redress in Women's Literature and Film." MFS Modern Fiction Studies 52, no. 3 (2006): 705–15. http://dx.doi.org/10.1353/mfs.2006.0057.
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SHEPPARD, W. ANTHONY. "Cinematic realism, reflexivity and the American ‘Madame Butterfly’ narratives." Cambridge Opera Journal 17, no. 1 (March 2005): 59–93. http://dx.doi.org/10.1017/s0954586705001941.
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This article focuses on two cinematic versions of the ‘Madame Butterfly’ tale. Produced near the beginning of the sound era, the 1932 Madame Butterfly struggles to co-opt Puccini's opera and thereby create a fully cinematic Butterfly. My Geisha, created three decades later, aspires to subvert Orientalist representation by reflecting back upon Puccini's and Hollywood's Butterflies with hip sophistication. Both films work simultaneously with and against the Butterfly canon in intriguing ways and both are shaped by prevailing American perceptions of race and gender. In investigating the relationship between these films and Puccini's opera, I raise broader issues of comparative genre analysis, focusing particularly on exotic representation on stage and screen. Does film, in its bid to project exotic realism in both sound and image, succeed in surpassing the experience of staged Orientalist opera?
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Roozbeh Koohshahee, Roohollah, and Alireza Anushirvani. "Representation of the Orient in Pasolini’s Arabian Nights." International Letters of Social and Humanistic Sciences 58 (September 2015): 123–29. http://dx.doi.org/10.18052/www.scipress.com/ilshs.58.123.
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This article aims at studying the representation of the Orient in Pasolini’s film Arabian Nights(1974). Since this film is a faithful adaptation of Thousand and One Nights it will be examined as carrying the same ideology which the text carries. The text of Thousand and One Nights established and legitimized orientalism in the west. Thus the movie follows suit in institutionalizing Orientalism. This is obtained by a close watching analysis and by looking at the images of the Orient, the plot itself, potential stylistic features which expresses images or attitudes in this regard. Our hypothesis is that the Orient in this movie is portrayed in accordance with notions of representation of the Other being depicted as, amongst other aspects, exotic, sexual, erotic and as a homogenous mass. Pasolini portrays Oriental men and woman as bodies in the duality of mind and body, and portrays them as a homogenous mass this is merely due to their belonging to a particular culture or race. The film represents the Oriental men and women as having a defining interest in sex and eroticism. It displays an exoticising Western view of the Oriental culture.
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Lumby, Bronwyn, and Colleen McGloin. "Re-Presenting Urban Aboriginal Identities: Self-Representation in Children of the Sun." Australian Journal of Indigenous Education 38, no. 1 (January 2009): 27–35. http://dx.doi.org/10.1375/s1326011100000569.
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AbstractTeaching Aboriginal studies to a diverse student cohort presents challenges in the pursuit of developing a critical pedagogy. In this paper, we present Children of the Sun (2006), a local film made by Indigenous youth in the Illawarra region south of Sydney, New South Wales. We outline the film's genesis and its utilisation in our praxis. The film is a useful resource in the teaching of urban Aboriginal identity to primarily non-Indigenous students in the discipline of Aboriginal studies. It contributes to the development of critical thinking, and our own critical practice as educators and offers a starting point to address pre-conceived and stereotypical notions about race and colour. We situate this paper within a theoretical framework of identity and whiteness studies to explore the issue of light skin in relation to the constraints of identity surrounding urban Aboriginal youth, as represented in Children of the Sun. We discuss the usefulness of this film as a self-representational text that subverts and challenges pre-conceived notions of Aboriginal identity.
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Nelson, Camilla. "Miss Havisham’s Rage: Imagining the ‘Angry Woman’ in Adaptations of Dickens’ Famous Character." Adaptation 13, no. 2 (November 27, 2019): 224–39. http://dx.doi.org/10.1093/adaptation/apz027.
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Abstract Miss Havisham is a spectral spinster figure that haunts the western imagination, an emblem of an ostensibly ‘unjustified’ and ‘unjustifiable’ female rage, a repository for masculine fears and fantasies about women, age, sexuality, and power. This article examines the shifting visions of Miss Havisham as an object of horror in film, fashion, kitsch, on the internet, and, more recently, as a revisionary figure of female resistance in Tony Jordan’s television series, Dickensian. In so doing, it maps the tensions that exist between conventional representations of Miss Havisham that envisage her as an irrational, embittered, and narcissistic old woman and those that construct her as a representation of justified female rage against the intersecting forces of patriarchy, capitalism, and ‘toxic masculinity’.
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Stoddard, Jeremy D., and Alan S. Marcus. "The Burden of Historical Representation: Race, Freedom, and "Educational" Hollywood Film." Film & History: An Interdisciplinary Journal of Film and Television Studies 36, no. 1 (2006): 26–35. http://dx.doi.org/10.1353/flm.2006.0018.
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Kienke, Chris. "Cute babies: How imagery and representation shape our collective beliefs." Visual Inquiry 8, no. 2 (June 1, 2019): 139–48. http://dx.doi.org/10.1386/vi_8.2.139_1.
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Images about race, class and gender deeply affect our beliefs about what American values are and who gets to share and who does not get to share in those values. The continuing discussions about these issues filtered through social media, film and television in the United States is a dialogue that demands visual rendering. Realizing the depth of this conditioning is the first step. Critical next steps are examining which images are made available to the public and how to work with students who are developing their own voice.
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Parker, Alexandra. "The spatial stereotype: The representation and reception of urban films in Johannesburg." Urban Studies 55, no. 9 (May 9, 2017): 2057–72. http://dx.doi.org/10.1177/0042098017706885.
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Stereotypes are people or things categorised by general characteristics of the group based on a truth that is widely recognised and function to reduce ideas to a simpler form (Dyer, 1993). Not all stereotypes are pejorative but can be a form of othering of people (Bhabha, 1996) and come about through a friction with difference (Jameson, 1995). In Johannesburg, South Africa, there is a conflation of people and space that results in a form of spatial categorisation or stereotyping. Under the apartheid government the city’s spaces were divided by race and ethnicity and are currently shifting towards divisions of class and inequality deepening the fragmented post-apartheid conditions in the city. These spatial categories have been represented in films of Johannesburg and contribute to the construction of the city’s image but also construct images for particular neighbourhoods. In this paper I examine the use of space in film as a narrative device and explore the reception and understanding of Johannesburg’s spaces by its residents to illustrate the construction and reception of spatial stereotypes. The paper discusses three dominant spatial stereotypes of Johannesburg through key films and the reception of these films through quantitative and qualitative interviews conducted with residents in four locations (Chiawelo; CBD; Fordsburg and Melville) in Johannesburg. Stereotypes have negative consequences and these spatial stereotypes reflect the ‘city of extremes’ (Murray, 2011) but their use indicates a process of navigation and negotiation across differences in space and identity in the fragmented city of Johannesburg.
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Sokołowska-Paryż, Marzena. "The Truth (?) of Wartime Rape: Memory, Form, and Meaning in Helke Sander’s Liberators Take Liberties and Wojciech Tochman’s Today We’re Going to Draw Death." Violence Against Women 25, no. 13 (September 10, 2019): 1594–612. http://dx.doi.org/10.1177/1077801219869546.
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This article analyzes the representational strategies used to show, narrate, and contextualize sexual violence during past military conflicts in Helke Sander’s 1992 documentary film BeFreier und BeFreite ( Liberators Take Liberties) and Wojciech Tochman’s 2010 reportage Dzisiaj narysujemy śmierć ( Today We’re Going to Draw Death). My comparative analysis of the formal strategies used by Sander and Tochman to effectively diminish various modes of “historical distance” serves to promote a discussion on the potential of each medium to evoke empathetic understanding of the trauma of wartime rape victims in the present.
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Irobi, Esiaba. "A Theatre for Cannibals: Images of Europe in Indigenous African Theatre of the Colonial Period." New Theatre Quarterly 22, no. 3 (July 11, 2006): 268–82. http://dx.doi.org/10.1017/s0266464x06000479.
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Europe’s colonial presence on the African continent from 1885 to the 1960s produced complex discourses about race and its representation. Whereas the Europeans constructed their putative images of Africans as inferior beings through radio, television, film, and print, for a predominantly literate sector, Africans deployed a more complex and mixed set of literacies. As well as conventional forms of literature, Africans used iconographic, kinaesthetic, proxemic, sonic, linguistic, tactile, calligraphic and sartorial literacies in their indigenous festivals and ritual theatres to resist, historicize, and domesticate colonial whiteness from the nineteenth century to the present day. In this article, Esiaba Irobi offers a detailed response to Bell Hooks’s observation (in Black Looks: Race and Representation, 1992) that in the work of postcolonial critics ‘there is a continued fascination with the way white minds, particularly the colonial imperialist traveller, perceive blackness, and very little expressed interest in representations of whiteness in the black imagination’. Esiaba Irobi is an Associate Professor of International Theatre at Ohio University, Athens. Born in the Republic of Biafra, he has lived in exile in Nigeria, Britain, and the USA. His African Festival and Ritual Theatre: Resisting Globalization on the Continent and Diaspora since 1492 is due for publication by Palgrave Macmillan in 2007.
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Engel, Rozanne. "Gender and Race in the South African Film Industry: A Comparative Analysis of the Representation in South African Film Festivals." Communicatio 44, no. 1 (January 2, 2018): 16–33. http://dx.doi.org/10.1080/02500167.2018.1444659.
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Dowie-Chin, Tianna, Matthew Paul Stephens Cowley, and Mario Worlds. "Whitewashing Through Film: How Educators Can Use Critical Race Media Literacy to Analyze Hollywood’s Adaptation of Angie Thomas’ The Hate U Give." International Journal of Multicultural Education 22, no. 2 (August 31, 2020): 129. http://dx.doi.org/10.18251/ijme.v22i2.2457.
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Grounded in critical race media literacy (CRML), we contend that a comparison of The Hate U Give novel and adapted film can allow for more nuanced conversations in the classroom regarding the functions of racism in America, including intersectionality and colorism. When comparing these texts, educators should ground their analysis in CRML. CRML is one way that educators can facilitate the engagement of critical analysis around the representation of racialized people in media. We argue that when The Hate U Give was rendered into a film, a number of the changes weakened the novel‘s counterstory messages around racism and white supremacy.
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Dettleff, James. "Andean Female Representation in Peruvian Films from the Internal Armed Conflict." MEDIACIONES 14, no. 21 (October 29, 2018): 1–16. http://dx.doi.org/10.26620/uniminuto.mediaciones.14.21.2018.1-16.
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This paper focuses on the representation of Andean female characters (indigenous) in Peruvian films set in the Internal Armed Conflict (IAC 1980–1999) and their relationship with male characters from the coast and from the Peruvian Andes. Using the discourse analysismethod, the paper shows how this is an uneven power representation, where the female indigenous character is portrayed as the lowest step of the social-economic scale, with no agency or any self-powerto free herself from her own situation. This work analyzes La boca del lobo (1988), the first Peruvian film set during the iac, in which Andean women have a secondary role, stripping away from them any possibility of being empowered subjects. This way of portraying the Andean women answers to a patriarchal and racist structure, which not only shows Andean females as powerless, as subaltern subjects, victims of psychological and sexual violence, but also makes invisible the role that they had during the iac. Women’s role mainly consisted in confronting both the abuses performed by the terrorist groups and by the Peruvian armed forces. This powerless portrayal was maintained in other audiovisual Peruvian productions—as analyzed in my ongoing PhD research—and has established a vision of the Andean female as a diminished subject and also contributed to build the Andean people—mainly women—as the “other” in the iac. To understand how non-indigenous people of Lima have built an image of the main victims of the IAC may help rebuild this war-torn nation, since race and gender differences are still problems Peru must resolve.
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Li, Yumin. "Shape shifters: Racialized and gendered crossings inPiccadilly(1929) andShanghai Express(1932)." Sexualities 23, no. 1-2 (November 21, 2018): 170–200. http://dx.doi.org/10.1177/1363460718779800.
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The Chinese American actress Anna May Wong (1905–1961) is today considered an ambivalent icon who, on the one hand, was the first Asian American film star to gain international recognition, and on the other hand, became a symbol of the hypersexualized Asian woman in film. In this article, I will analyse the crossing of racial and sexual boundaries in two of her films, Piccadilly (1929) and Shanghai Express (1932). The comparison of Piccadilly with Shanghai Express reveals the journey not only of transatlantic agents, like Anna May Wong, but also the simultaneous trajectory of sets of interrelated motifs, narratives, and aesthetic tropes. As discourses of gender and race converge into the figure of the transnational Asian American actress, Anna May Wong offers a key and privileged site to unpack and discuss them. The relationship between sexuality and race in these films has often been reduced to processes of exoticization. However, I will show that this relationship ought instead to be understood as interrelated through practices of appropriation, subversion, and cross-dressing.By applying the term ‘exotic’ to the analysis of Anna May Wong’s performances, I aim to foreground the entangled processes of sexualization and exoticization in order to reveal that the delineation of the ‘other’ is more ambivalent than clear. The films are particularly interesting in the context of ‘sexoticization’ because they do not construct a gendered and racialized ‘other’ that is clearly distinct to a western ‘us’. Modes of appropriation and masquerade complicate the representation of the ‘sexotic’, non-European ‘other’.
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Frühwirth, Timo, Philipp Bechtold, Elisabeth Güner, and Marie-Theres Krutner. "‘For better or for worse, there is history, there is the book and then there's the movie’: Foregrounding and Marginalizing African American Women in the Film Hidden Figures (2016)." European Journal of Life Writing 10 (September 8, 2021): WLS77—WLS105. http://dx.doi.org/10.21827/ejlw.10.37914.
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This paper critically examines the representation of gender and race in the biographical drama film Hidden Figures (2016), directed by Theodore Melfi. The film is based on Margot Lee Shetterly’s nonfiction book of the same title, which spotlights previously hidden figures in US history: the black female mathematicians who worked in the early US space program. The movie was released to critical acclaim and embraced by audiences as empowering African American girls. At the same time, the film was criticized for including a ‘white savior’ scene in which the black female protagonists are marginalized.
After providing background information on Shetterly’s book and the film’s critical reception, this paper conducts a close formal analysis of a pivotal sequence in the film, which is compared to the events told in the nonfiction book. To shed light on the power structures that the film sequence projects, the results of this analysis are, subsequently, related to critical theoretical approaches to Hollywood cinema, as well as to Sara Ahmed’s concept of ‘affective economies.’ In conclusion, we argue that Hollywood filmmakers’ expectations about the desires of ‘mainstream’ audiences work to perpetuate the repression of previously repressed herstory on the ‘silver screen.’
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Wigger, Iris, and Spencer Hadley. "Angelo Soliman: desecrated bodies and the spectre of Enlightenment racism." Race & Class 62, no. 2 (August 3, 2020): 80–107. http://dx.doi.org/10.1177/0306396820942470.
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The case of Angelo Soliman − a black man raised in the royal courts of eighteenth-century Vienna who appeared during his lifetime to have attained significant social status and acceptance into bourgeois society, only to have his body stuffed and exhibited after death in a natural history museum − is discussed in the context of Enlightenment race theories at the core of a then-new ‘scientific racism’. This article explores his representation in its wider discursive and historical context, and critically reflects on predominant narratives and typologies associated with him. The piece then reflects on contemporary attempts to retell his story – via museum exhibitions, literature and film – some of which started to critically reflect on age-old European stereotypes of blackness used in earlier representations of Soliman. The piece promotes a discussion of Soliman’s life from a more critical, historically reflexive, de-colonialising and anti-racist position that questions white normativity and the scientific racism of the European Enlightenment and colonialism, the foundations of modern racism.
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Williams, Maggie Griffith, and Jenny Korn. "Othering and Fear." Journal of Communication Inquiry 41, no. 1 (July 24, 2016): 22–41. http://dx.doi.org/10.1177/0196859916656836.
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Television is a significant socialization tool for children to learn about their social worlds. The children's brand, Thomas & Friends, targets preschool audiences with manifest messages about friendship and utility as well as troubling, latent messages about race, ethnicity, and difference. Through critical visual and verbal discursive analyses of the film, Hero of the Rails, we expose Thomas & Friends' investment in racial hierarchies despite its broader message of friendship. We identify four ways that Hiro is “othered” in the film: (1) his glamorized description as “strange,” (2) his consistently heavily accented voice, (3) his Japanese origin story, and (4) his pigmentation and powerlessness. Using theories of “othering,” we argue that the representation of cultural difference to the preschooler audience is fearful and propagates racist discourses of yellow peril and Orientalism.
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Rajgopal, Shoba Sharad. "“The Daughter of Fu Manchu”." Meridians 19, S1 (December 1, 2020): 389–409. http://dx.doi.org/10.1215/15366936-8566056.
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AbstractCourses regarding race, gender, and representation are not easy to teach under any circumstances, but even more so in predominantly White classrooms in the post 9/11 United States, where the masses have been fed a diet of xenophobic, anti-Asian propaganda inculcating an “us” versus “them” mentality. This article analyzes the discourse of empire, a metaphor that has been used time after time to construct a mythical and menacing Other. In contrast, the portrait of Asian women in cinema and television news as traditional, veiled, and inhabiting a separate sphere adds to this representation of Asian cultures as premodern and irrevocably opposed to the West, much as portrayed in Samuel Huntington’s “clash of civilizations” theory. The author illustrates this transnational feminist critique with a documentary used in Women’s Studies classes, Deborah Gee’s landmark film Slaying the Dragon (1988).
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Okada, Jun. "Representation, Recognition, and the Possibility of a Radically Transformed Future: The Asian Americans Series." Film Quarterly 74, no. 1 (2020): 11–20. http://dx.doi.org/10.1525/fq.2020.74.1.11.
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Asian Americans, a new five-part PBS series co-produced by Renee Tajima-Peña, Grace Lee, S. Leo Chiang, and Geeta Gandbhir has managed to do a rarity within the genre of Asian American film and video: addressing the need to make Asian Americans visible while simultaneously exploring deeper issues of race, racism, immigration, citizenship, and history that confront and engage the viewer in the ongoing need for social change. This series comes at an especially pertinent time when the seemingly arcane “yellow peril” racism of decades and centuries past has disturbingly resurfaced with the new COVID-19 pandemic, demonstrating that history can and does repeat itself. The series argues for the urgency in using media—in this case, television documentary—to condemn the violence that continues to plague not only Asian Americans, but others similarly implicated by virtue of their marginal status, including African Americans, the working poor, and immigrants.
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Chong, Sylvia Shin Huey. "Vietnam, the Movie: Part Deux." PMLA/Publications of the Modern Language Association of America 133, no. 2 (March 2018): 371–77. http://dx.doi.org/10.1632/pmla.2018.133.2.371.
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“They cannot represent themselves; they must be represented” (nguyen, sympathizer 179). and so viet thanh nguyen's The Sympathizer invokes Karl Marx's “The Eighteenth Brumaire of Louis Bonaparte,” although the reference is just as likely to be Edward Said's Orientalism, since Marx was concerned with political representation (608), whereas Said was concerned with discursive representation (21). These words frame the important middle act of The Sympathizer, one that focuses on the filming of The Hamlet, a mash-up of Hollywood's sins against not only Vietnamese but also Asians and Asian Americans at large. Reading like a morality play crossed with a backstage musical, this section draws on thinly veiled references to Francis Ford Coppola (the Auteur), Marlon Brando (the hespian), and Martin Sheen (the Idol), who drag the narrator from his newly formed Southern Californian refuge and round up a bunch of stray boat people milling around in the Philippines to put on a movie about the Vietnam War. From the recycling of American military equipment originally sold to Ferdinand Marcos in the Philippines to the reuse of Vietnamese bodies recently shot at and now en route to the United States as refugees, every aspect of the making of The Hamlet illustrates the dangers of allowing oneself to be represented by others. More subtly, The Sympathizer shows how difficult it is to intervene in this regime of representation, especially in the name of authenticity, as it is often deployed by protestors against stereotypes in the media. But if we situate the section on The Hamlet within the overall narrative of The Sympathizer and also in Nguyen's larger critique of memory industries as war industries, we must also understand that the content of the ilm is less important than the dynamics of spectatorship. By linking the narrator's quixotic quest to subvert this film with his repression of his complicity in the rape and torture of a communist agent during the narrator's days as a mole in the South Vietnamese police, Nguyen suggests that watching the Vietnam War is potentially as dangerous as ighting in (or misrepresenting) the war.
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Arkian, Muhammad Reyzha Noorsyam, M. Subur Drajat, and Dadi Ahmadi. "Peran Public Relations dalam Film Hancock." Inter Komunika : Jurnal Komunikasi 3, no. 2 (December 11, 2018): 145. http://dx.doi.org/10.33376/ik.v3i2.214.
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Abstract. Film is a mass media that has a function as entertainment, besides that the film also contains an informative, educative, and persuasive function. Film is also known as a medium of communication, film is an effective means to shape the perspective of society at large. A movie titled “Hancock” is a movie about a public relations practitioner who tries to restore the image of a superhero. This movie also tells a story about the troublesome life of a superhero who has bad image in the eyes of public and media. The purpose of this research is to understand the Reality Level, Representation Level and Ideology Level of public relations role in the movie “Hancock”. The research method is using the qualitative methods with semiotics approach, which is a science about signs. The theory used is John Fiske’s theory of Television Codes which focuses on the Reality Level, Representation level and Ideology Level. In this research the data collection techniques used are observation, documentation, literature study, and interviews. The results of this study conclude that at the reality level it is seen in the form of behavior and appearance which includes expert advisors who provide input, problem solvers in crisis, media relations, providers as well as media relations, communication technicians, public tranquilizers, and case development informants. showed that the role of public relations and Ray Embrey's Appearance tended to be stable when meeting with the public and Hancock as management, namely by using formal equipment in the form of shirts, suits, ties, material trousers and loafers. At the level of representation in the form of a camera code and dialogue code which includes, Framing with Background, Group Shot, Walking Shot, Two Shot, Three Shot, Eye Level, and, Point of View Shot and dialog used by Ray Embrey in this film too very shows the role of public realtions that show that it is an expert communicator and expert advisor by persuasive communication. At the ideological level, there was an ideology that appeared in the Hancock film with discrimination between white and black race and based on the eighth point of the Public Relations International code of ethics. The suggestion for further research is to look for references to books related to semiotics and the role of public relations. This is needed to be able to better understand the forms of the role of public relations in a film.Keywords: Mass Media, Reality, Semiotic, Television Codes, John FiskeAbstrak. Film merupakan media massa yang memiliki fungsi sebagai hiburan, disamping itu juga film mengandung fungsi informatif, edukatif, dan persuasif. Film juga dikenal sebagai media komunikasi, film merupakan salah satu sarana yang efektif untuk membentuk perspektif masyarakat secara luas. Film “Hancock” merupakan sebuah film yang mengangkat kisah tentang perbaikan citra dari seorang pahlawan oleh seorang praktisi public relations. Film ini juga mengangkat persoalan kehidupan seorang pahlawan yang memiliki citra buruk di mata publik dan media. Tujuan dari penelitian ini adalah untuk mengetahui bagaimana level realitas, level representasi, dan level ideology peran public relations dalam film “Hancock”. Metode penelitian yang digunakan oleh peneliti adalah metode kualitatif dengan pendekatan semiotika, yaitu suatu ilmu yang mengkaji tentang tanda-tanda. Teori yang digunakan adalah kode-kode televisi John Fiske dimana memfokuskan pada level Realitas, level Representasi, dan level Ideologi. Pada penelitian ini teknik pengumpulan data yang digunakan berupa observasi, dokumentasi, studi pustaka, dan wawancara. Hasil dalam penelitian ini menyimpulkan bahwa pada level realitas terlihat dalam bentuk perilaku dan penampilan yang meliputi penasihat ahli yang memberikan masukan, pemecah permasalahan ketika dalam krisis, media relations, penyedia juga penyalur hubungan dengan media, teknisi komunikasi, penenang publik, dan informan perkembangan kasus yang menunjukan bahwa adanya peran public relations dan Penampilan Ray Embrey, cenderung stabil ketika bertemu dengan publik dan Hancock sebagai manajemen, yaitu dengan menggunakan stelena formal berupa kemeja, jas, dasi, celana panjang bahan, dan sepatu pantofel. Pada level representasi dalam bentuk kode kamera dan kode dialog yang meliputi, Framing with Background, Group Shot, Walking Shot, Two Shot, Three Shot, Eye Level, dan, Point of View Shot dan dialog yang di gunakan oleh Ray Embrey dalam film ini juga sangat menunjukan peran public realtions yang menunjukan bahwa ia merupakan seorang expert communicator dan penasihat ahli dengan melakukan komunikasi persuasif. Pada level ideologi terlihat adanya Ideologi yang muncul dalam film Hancock terdapat diskriminasi Ras antara kulit putih dengan Ras kulit hitam dan berdasarkan kode etik Public Relations Internasional point ke delapan. Adapun saran untuk penelitian selanjutnya adalah lebih mencari referensi buku terkait dengan semiotika dan peran public relations. Hal ini diperlukan untuk dapat lebih memahami bentuk-bentuk peran public relations dalam sebuah film.Kata kunci: Media Massa, Realitas, Semiotika, Kode-kode Televisi, John Fiske
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Rahman, Sabina. "“Forget History. Forget What You’ve Seen Before. Forget What You Think You Know”: Re/Establishing Space for People of Color in Otto Bathurst’s Robin Hood." Bulletin of the International Association for Robin Hood Studies 3, no. 1 (July 15, 2021): 1–9. http://dx.doi.org/10.33043/biarhs.3.1.1-9.
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This article discusses the representation of race in Otto Bathurst’s Robin Hood through an examination of Yahya, one of the pivotal figures of agitation for social reform in the film. It traces Yahya’s ancestry from his on-screen avatars to note a significant change that is displayed in the power dynamics between Yahya and Robin. Through this examination, the article will assert that dismissing the film’s commitment to diversity as “political correctness gone mad” not only fundamentally misunderstands what medievalism is and what it does, but also attempts to police Black bodies in a made-up past.
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Abdullah Rashed, Atoof, and Laila M. Al-Sharqi. "Roses in Amber: Gendered Discourse in Disney’s 2017 Adaptation of Villeneuve’s Fairytale Beauty and the Beast." Arab World English Journal For Translation and Literary Studies 5, no. 1 (February 15, 2021): 126–43. http://dx.doi.org/10.24093/awejtls/vol5no1.9.
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This study considers the dialogic relationship between the 2017 Disney live-action film Beauty and the Beast with Gabrielle-Suzanne de Villeneuve’s fairy tale and Disney’s 1991 animated version. Drawing on cultural and feminist discourse, the study seeks to examine Disney’s live-action film for incidents of cultural appropriation of gender representation compared to Villeneuve’s fairy tale and Disney’s 1991 animated version. The Study argues that the 2017 film adaptation reverses the traditional patriarchal notions and embraces a transgressive feminist discourse/approach as part of Disney’s strategy of diversity and inclusion of gender, race, class, and sexual orientation as constantly evolving cultural categories. This study finds significant alterations made to the physical and psychological attributes of the 2017 film’s three characters: Beauty/Belle, the Beast, and the Enchantress, changes that align with the film’s gendered discourse. By reversing the characteristic privileging of the male and the empowerment of the female, the live-action succeeds in addressing the contemporary audience demands of diversity and inclusion. The study concludes that the changes made in the 2017 film adaptation displace the oppressive patriarchal notions and stereotypical modes of representing the male and female as they have been perceived in the original fairy tale, for they are no longer compatible with contemporary cultures’ assumptions on gender.
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Alemán, Sonya M., and Enrique Alemán. "Critical Race Media Projects." Urban Education 51, no. 3 (February 9, 2016): 287–314. http://dx.doi.org/10.1177/0042085915626212.
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This article maps out two critical race media projects – a documentary and a Chicana/o-centric student newspaper – developed by Chicana/o scholars seeking to fulfilll the promise of praxis hailed by critical race theorists. Fortified and guided by the quintessential tenets of critical race theory and Latino critical race theory, these critical race media projects not only apply, but also extend these principles to seek educational and community transformation. As such, the production process for both documentary and student newspaper merge research and activism in order to cultivate figurative and literal spaces that encourage and allow for the recuperation of memory, archiving forgotten history, and the self-determination of contemporary identities and belonging. By harnessing critical race theory’s counter story-telling focus, these projects cultivate the voices of resistance and reclamation in Latina/o communities, transcending the Black/White paradigm that bounds a majority of critical race scholarship. In addition, both the film and quarterly newspaper uniquely sharpen the theoretical framework’s analytic critique of language, discourse and representation, exemplifying the inimitable power of words to both heal and wound.
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Conolly-Smith, Peter. "Race-ing Rape: Representations of Sexual Violence in American Combat Films." War & Society 32, no. 3 (October 2013): 233–51. http://dx.doi.org/10.1179/0729247313z.00000000025.
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Muqoddas, Ali, and Noor Hasyim. "Representasi Anti Diskriminasi pada Film Kartun 3D Zootopia (Kajian Semiotika Roland Barthes)." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 2, no. 02 (August 31, 2016): 151–66. http://dx.doi.org/10.33633/andharupa.v2i02.1217.
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Isu diskriminasi SARA seperti tiada habisnya terjadi di dunia ini, begitu juga di Indonesia. Hal ini mengakibatkan tema-tema tentang SARA menjadi sensitif ketika dibahas atau pun difilmkan. Hal ini mengakibatkan jarang ditemui film yang mengangkat tentang SARA. Lain halnya dengan Walt Disney. Walt Disney baru-baru ini merilis film kartun 3D yang mengangkat tema anti diskriminasi SARA yang berjudul Zootopia. Film ini menjadi menarik karena isu diskriminasi SARA yang diangkat dibalut dengan konsep yang kreatif hingga sensivitas isu SARA tersebut menjadi berkurang. Representasi anti diskriminasi SARA pada film Zootopia ini selanjutnya dikaji dengan metode semiotika Roland Barthes dengan pendekatan deskriptif kualitatif. Berdasarkan dari analisis, dapat disimpulkan bahwa film Zootopia memuat pesan ideologi tentang anti diskriminasi SARA bahwa kedudukan manusia dimata manusia yang lain pada hakikatnya adalah sama. Setiap manusia berhak dan wajib memperlakukan dan diperlakukan secara bijak tanpa memperdulikan background asal manusia itu sendiri. Penghargaan pada setiap individu tidak didasarkan pada faktor keturunan, ras, suku ataupun agama, namun didasarkan pada prestasi dari individu itu sendiri. Kata Kunci: diskriminasi SARA, Zootopia, Roland Barthes AbstractThe issue of racial discrimination as an endless happen in this world, so also in Indonesia. This resulted in the themes of SARA be sensitive when discussed or filmed. This resulted in a rare film that raised about SARA. Another case with Walt Disney. Walt Disney recently released 3D animated film that mengangat theme of anti-discrimination SARA entitled Zootopia. This film is interesting because racial discrimination issues raised wrapped with a creative concept to the sensitivity of the racial issues be reduced. SARA anti-discrimination representation on film Zootopia is further studied with Roland Barthes semiotic methods with qualitative descriptive approach. Based on the analysis, it can be concluded that the film contains Zootopia ideology of anti-discrimination message SARA that the position of human eyes of another human being is essentially the same. Every human being is entitled and obliged to treat and be treated wisely, regardless of the origin of man's own background. On each individual award is not based on heredity, race, ethnicity or religion, but is based on the achievements of the individuals themselves.Keywords: racial discrimination, Zootopia, Roland Barthes
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CASSANO, GRAHAM. "“The Last of the World's Afflicted Race of Humans Who Believe in Freedom”: Race, Colonial Whiteness and Imperialism in John Ford and Dudley Nichols's The Hurricane (1937)." Journal of American Studies 44, no. 1 (October 1, 2009): 117–36. http://dx.doi.org/10.1017/s0021875809990703.
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This essay examines the political meanings of John Ford and Dudley Nichols's film The Hurricane (1937). The Hurricane appears at a pivotal moment in American history, a moment when Ford and Nichols set out to make films for a “new kind of public.” This new audience was forged by new political forces, including the rise of the Congress of Industrial Organizations, the Popular Front, and Roosevelt's New Deal. Building on previous work that documents Nichols's affiliation with Popular Front organizations, and Ford's own political cinema (including The Informer (1935), The Grapes of Wrath (1940), and How Green Was My Valley (1941)), I argue that The Hurricane offers a fundamental critique of European imperialism, and imperial “whiteness.” At the same time, the energies for that critique come from a paradoxically “progressive” orientalism that represents South Seas “natives” as inherently wild and independent. It is this projected hunger for independence that allows Ford and Nichols to argue against colonial “whiteness,” while, almost simultaneously, they portray African Americans as servile and dependent, thus justifying white supremacy and racial oppression in the United States. Finally, by way of conclusion, I suggest that this dyadic representation – natives as independent, blacks as dependent – continues to structure the politics of Ford's post-World War II cinema, allowing him to normalize white supremacy at home, while at the same time justifying American military adventures abroad in the name of freedom for “the world's afflicted races.”
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Myers, Kathleen Ann. "An Archeology of Mexican Modernity." Mexican Studies/Estudios Mexicanos 37, no. 2 (2021): 232–62. http://dx.doi.org/10.1525/msem.2021.37.2.232.
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Cultural analysts have noted similarities between Alfonso Cuarón’s Colonia Roma and José Emilio Pacheco’s Colonia Roma, depicted twenty years earlier in his best-selling novel Las batallas en el desierto (1981). But no one has examined how Pacheco’s work studies the emerging relationship between modernization and the racialization of space, which Cuarón’s film Roma later captured for a global audience. Pacheco’s depictions of a spatialized interaction between social classes in mid-twentieth-century Colonia Roma, I argue, offer an archeology of space, race, class, and modernity that attempts to counteract forces of social amnesia following a period of repression and censorship. Drawing on the critical practice of spatial studies, I look beyond the flat representation of space and study instead how a multidimensional spatialization depicted in this work reveals the legacy of Spanish colonial infrastructures of race and the emerging formulation of modernity. Indeed, Pacheco’s novel tells the story of repressed memories and unearths the infrastructures of a coloniality/modernity that continue to affect Mexico today.
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Howley, Colin Paul. "“Cycles of Change”: Slaying the Badger, the Tour de France and Contemporary Documentary Film." Journal of Sport and Social Issues 41, no. 6 (July 24, 2017): 493–507. http://dx.doi.org/10.1177/0193723517721702.
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From its origins in 1903 as a parochial national cycle race, the Tour de France is today undeniably among the greatest annual sporting spectacles in the world. Since 1954 it has systematically extended its appeal beyond France’s national borders, regularly staging a grand départ from other European cities. The Tour de France also attracts an estimated 12 million spectators lining the route over the race’s 3-week duration every year, is watched by a reputed 1.5 billion global television audience across more than 188 countries and, therefore, is implicitly involved in a complex production of transnational discourses about sport. This article analyzes the 2014 ESPN documentary Slaying the Badger and proposes a reading which situates the representation of Greg LeMond (the first and, to date, only officially recognized American to win the Tour de France) and his turbulent rivalry with teammate and mentor French cyclist Bernard Hinault within wider social contexts. Focusing on the discourse of “Americanization,” the article also critically examines the meanings of socioeconomic forces that began to transform not only the international composition of the peloton but also the cultural significance of the Tour de France from the 1980s onward.
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Marcus, Sharon, Lynn A. Higgins, and Brenda R. Silver. "Rape and Representation." Tulsa Studies in Women's Literature 12, no. 1 (1993): 152. http://dx.doi.org/10.2307/463772.
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Fredrick, David. "Beyond the Atrium to Ariadne: Erotic Painting and Visual Pleasure in the Roman House." Classical Antiquity 14, no. 2 (October 1, 1995): 266–88. http://dx.doi.org/10.2307/25011023.
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Wallace-Hadrill's reading of spatial hierarchy does not address the representation of gender in mythological paintings. However, a rough survey indicates that the majority are erotic and/or violent. Erotic depictions common on household items (mirrors, lamps, Arretine ware) suggest that the Romans were sensitive to this content; the likely use of pattern books in selecting programs for domestic decoration suggests a synoptic awareness of it. This points to the applicability of contemporary theories of representation and power, and Mulvey's model of visual pleasure in narrative film is adapted for this paper. According to Mulvey, film offers two pleasures: (1) scopophilia, which presents the woman as aesthetic-erotic fragments, suggesting but concealing her difference (culturally read as castration); (2) sadistic voyeurism, which assumes difference and then investigates, punishes, or forgives it. Both are illustrated in paintings of Ariadne abandoned and rediscovered, and in other paintings which portray either the gaze (Polyphemus at Galatea, Actaeon at Diana) or erotic violence (rapes of Cassandra, Daphne, Auge). While these paintings seem to confirm in relation to gender what the rest of the house says about class and status, some paintings confuse the issue. The male body is often fetishized (Narcissus, Endymion, Cyparissus), and attacked (Hylas, Actaeon, Pentheus); gender and role are sometimes deliberately ambiguous (Hermaphroditus). Such transgressions of the boundaries of the male body are not a part of Mulvey's theory, and they suggest the use of gender to complicate as well as confirm the class/status message of the house; two different negotiations of this use are found in the House of the Vettii and the House of the Ara Maxima. One can compare reversals and reassertions of gender, class and status in other evidence, in literature, pantomime and the games.
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Holmlund, Chris, and Andrew Nestingen. "Journal of Scandinavian Cinema turns ten: About the past and for the future." Journal of Scandinavian Cinema 10, no. 3 (September 1, 2020): 225–34. http://dx.doi.org/10.1386/jsca_00025_1.
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Chris Holmlund and Andrew Nestingen have long been involved with the Journal of Scandinavian Cinema (JSCA) – Chris since 2013, Andy since the journal’s inception in 2010. This article reviews trends in the journal’s first decade and identifies areas where more scholarship would be welcome. JSCA has built a reputation for excellence and is the authoritative publication on cinema and media of the Nordic region. Special Issues, articles on the representation of sexuality and discussions of national cinema constitute valuable contributions. There have been many excellent articles on male auteurs, and several articles on popular cinema. Women auteurs remain underrepresented; more research on television and media and additional studies of race and ethnicity in all media are needed. The authors encourage JSCA and its contributors to continue to build alliances with film studies organizations in Europe, North America, South America and Asia.
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Sparrow, Robert. "Robots, Rape, and Representation." International Journal of Social Robotics 9, no. 4 (June 1, 2017): 465–77. http://dx.doi.org/10.1007/s12369-017-0413-z.
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Ben-Youssef, Fareed. "The Birth and Death of a Professional Wrestling Alter-Ego: Takahara Hidekazu’s Gamushara and the Loss of a Transgressive Identity." Japanese Language and Literature 53, no. 2 (October 10, 2019): 203–31. http://dx.doi.org/10.5195/jll.2019.80.
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Japanese filmmaker Takahara Hidekazu's film Gamushara (2015), portrays joshi puroresu (female professional wrestling) star Yasukawa Act working through the trauma of sexual abuse through the spectacular world of professional wrestling. Shortly before the film’s release, Yasukawa was involved in what the Japanese media labeled the "Ghastly Match," wherein she had her orbital bone shattered in the ring. Takahara followed Yasukawa over the course of a year, tracking her recovery as well as her sudden retirement due to injury. The ensuing long form documentary was included on the film’s home video release and offers a unique portrait of a woman holding on to her spectacular, transgressive identity before letting it die. The cycle offers a portrait of the birth and death of an identity, built upon the receiving and inflicting of violence, at the point of healing and asks: what strength is lost within this process? What freedom is gained at the loss of an alter-ego defined by a transgressive femininity? In answering such questions, it frames the potential hold of the audience on a transgressive in-ring persona—a metaphorical wrestling match that pits viewer against artist—while revealing the difficulties for a woman working to change and overcome the ‘script’ that governs her in-ring performances and shades her traumas.The article frames Yasukawa’s growing alienation from her selves through close formal analysis of the films, interviews with the filmmaking team and fellow wrestlers, and a theoretical framework that combines studies on recovery from trauma with those detailing the transgressive possibility of wrestling and its structuring dichotomy between the fake and the real. It positions the film against previous representations of joshi puroresu in cinema to track the shifting gender politics of the form as it has come to be appreciated by a largely male audience as well as against Takahara’s previous self-critical pornographic Pink Films. Such comparisons underline how Yasukawa’s feminine transgression exists within a fraught and muddled setting often shaped by a male gaze. To consider the possibilities and limits of Yasukawa’s multivalent transgression of both gender and identity norms as well as the operating scripts of professional wrestling and trauma, the article also engages with gender scholar Sharon Marcus’ writing on how the rape script might be transcended via the development of a woman’s capacity for violence.Through such a critical prism, Takahara’s Gamushara cycle ultimately emerges as a vital and crucially murky documentary series for gender and media scholars concerned with the tensions of identity formation within spaces of spectacle wherein one’s performed screams might mask one’s real cries for help.
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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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Baines, Barbara J. (Barbara Joan). "Effacing Rape in Early Modern Representation." ELH 65, no. 1 (1998): 69–98. http://dx.doi.org/10.1353/elh.1998.0009.
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