“Be Patient,Dear Mother … Wait For Me”

In social reality, illness and death occur in myriad ways, yet Hollywood films have historically preferred spectacular, violent death over realist depictions of the terminal stages of life. Yet an ever-growing number of popular films, which I term neo-infirmity films, incorporate episodes of women characters debilitated by illness or injury. Operating at the intersection of melodrama and realism, the scenes are instrumental in staging contemporary cinema's gender politics. I argue that women's deathbed and hospital-bed scenes in contemporary cinema validate anew the maternal role and the figure of the mother, transporting the woman-centered discursive space of melodrama into narrative terrain often hostile to women's presence. Through this relocation, the films emphasize her importance to sons in particular (and less often to daughters, husbands, and the larger family unit). Many such scenes simultaneously undermine women's agency, reducing mothers to principally symbolic, literally immobile roles. Ailing women can become catalysts for male psychological transformation occurring through grief, action, or both in combination. In all, such scenes speak to continued ambivalence surrounding women's representation in popular cinema, and to continued patrolling of the boundaries of female power. This essay compares selected texts from contemporary Hollywood cinema, alongside three parallel discourses that also deploy melodramatic modes of articulation: nonfiction amateur video as relayed via television news programs, international art cinema, and US independent cinema. Arguing for homologies across multiple fields of textual production, I seek through this comparison to generate insights into the cultural work done by filmic representation.     

I Love You,Man

This article begins with a simple observation: there are very few contemporary Hollywood films in which women are shown becoming friends. This is in contrast to the “bromance,” in which new connections between men are privileged, yet this pattern has gone largely unremarked in the literature. This article has two aims: to sketch this pattern and explore reasons for it through comparing the “girlfriend flick” and “bromance.” To do this, we first discuss those rare occasions when women do become friends on screen, using Jackie Stacey's work to understand the difficulties this narrative trajectory poses for Hollywood. This raises questions about the relationship between the homosocial and homosexual which set up our comparison of female and male friendship films and provides the rationale for our focus on the beginnings of friendships as moments where tensions around gendered fascinations are most obvious. The films discussed are Baby Mama, Step Brothers, I Love You, Man, Funny People, Due Date, and Crazy, Stupid, Love. The differences we identify hinge on issues of gendered representability and identification which have long been at the heart of feminist film scholarship.     

Location shooting in “the Wild East”: risk and masculinity in Hollywood productions in the Philippines

This essay argues that risk has become a crucial part of Hollywood’s transnational media productions, revealing these productions’ links to various forms of masculinity. Entailing the deliberate confrontation of uncertainty, the concept of risk connotes rational decision-making, territorial exploration, economic investment, and, more implicitly, the kinds of masculinities associated with these practices. As such, risk becomes a means of understanding how the older forms of white masculinity associated with empire map onto newer geopolitical contexts, gendering production narratives that seek to mythologize filmmakers as auteurs, businessmen, and danger-seekers. Focusing on American productions in the Philippines, the essay examines risk and white masculinity in three cases of filmmaking: 1970s exploitation cinema commemorated in Machete Maidens Unleashed!; Apocalypse Now and Coppola’s subsequent tourism ventures; and the blockbuster The Bourne Legacy.     

Performing Gender on YouTube

The contemporary online environment is often touted as a democratic space, open to perspectives that might regularly be excluded from professionally-controlled media platforms. However, females are underrepresented on YouTube, a popular video-sharing internet social media platform. This underrepresentation of women suggests that gender matters on YouTube. In order to contribute to research on gender dynamics on YouTube, this study focuses on the most-subscribed female YouTuber, Jenna Mourey. The first part investigates the degree to which Mourey's YouTube reception could be understood as misogynistic and hostile. To this end, comments on Mourey's top-ten videos were compared to viewer comments on the top-ten videos of a male counterpart: Ryan Higa. The second part of the study focuses on the content and style of Mourey's video oeuvre in order to contribute to research on YouTubers who successfully negotiate a hostile environment. Mourey's tendency to perform gender extremes—both masculine and feminine roles—is an ongoing feature of her videos, allowing her to simultaneously critique and benefit from traditional gender roles. This two-part study of gender on YouTube thus both supports research describing harsh responses to women on video-sharing sites and offers one YouTube performer's strategy for achieving success in this environment.     

Portraying Trafficking in Lukas Moodysson's Lilya 4-Ever

The issue of human trafficking is frequently represented in visual images on television and in cinema. These narratives often focus on the selling of young women into the sex industry. One of the most prominent productions on the subject is the Swedish film Lilya 4-Ever (2002). Written and directed by Lukas Moodysson, the film tells the story of a tough adolescent, Lilya. Abandoned by her mother and left to fend for herself, Lilya turns to prostitution in order to survive. She is later trafficked to Sweden. She eventually commits suicide. Set in an unnamed post-Soviet city, the film reflects the reality of the increase in trafficked women from this region since the collapse of the USSR. The article analyzes Moodysson's film as an important model for depicting trafficking. Specific focus is given to the way the director defines Lilya and her milieu and engages seriously with issues of globalization, poverty, post-Soviet realities, and the very real issue of human trafficking. Most notably, Moodysson's film offers a depiction of trafficking that eschews any sexual objectification of the film's protagonist and combines progressive filmmaking with a melodramatic narrative to create a film that inspires extra-diegetic activism. Lilya 4-Ever is an emotionally impactful narrative, a modern-day melodrama for the twenty-first century.     

Language, gay pornography, and audience reception

Erotic imagery is an important component of gay pornographic cinema, particularly, where work of audience reception is concerned. However, to assume the audience engagement with the films is limited solely to the erotic realm is to underestimate the workings of ideological power in the context and aftermath of reception. For example, the director of the film under discussion here (Men of Israel; Lucas, 2009b) intended to present an erotic celebration of the nation-state. Yet, most viewers ignore the particulars of context in their comments about audience reception, placing the "Israeli" narrative within a broader framework, using transnational rather than film-specific criteria to guide their "reading" of the Israeli-centered narrative. This article uses as its entry point the language that viewers employ when describing their reactions to Men of Israel on a gay video club's Web site; this article shows how the work of audience reception may draw attention to a film's erotic details while invoking social and political messages that completely reframe the film's erotic narrative.     

“We Can Have It All”

Focusing primarily on films made in 2008 and 2009, this article examines the phenomenon of the girlfriend flick. Films such as Sex and the City, Baby Mama, The Women, and Bride Wars depict female friendship's priority in intimate culture, celebrating supportive and loving relationships over heterosexual romance. Exploring these films through the intersection between feminism and postfeminism, this article asks whether the girlfriend flick transcends limited understandings of sisterhood to include difference and to constructively explore conflict between women. This article argues that these films advocate a retreat into a segregated female sphere; not as radicalisation, but as a space where women monitor each other's drive for physical perfection and/or marriage and motherhood. Ultimately, they depict female friendship as maintaining “representable” femininities and producing sameness.     

Gender Monstrosity

Deadgirl (2008) is based around a group of male teens discovering and claiming ownership of a bound female zombie, using her as a sex slave. This narrative premise raises numerous tensions that are particularly amplified by using a zombie as the film's central victim. The Deadgirl is sexually passive yet monstrous, reifying the horrors associated with the female body in patriarchal discourses. She is objectified on the basis of her gender, and this has led many reviewers to dismiss the film as misogynistic torture porn. However, the conditions under which masculinity is formed here—where adolescent males become “men” by enacting sexual violence—are as problematic as the specter of the female zombie. Deadgirl is clearly horrific and provocative: in this article I seek to probe implications arising from the film's gender conflicts.     

Xena Rules

This paper analyzes and discusses “Antony and Cleopatra,” an episode from the popular and highly intertextual action-fantasy television series, Xena: Warrior Princess, in the context of the Roman story arc in the series and more particularly as a “feminized” appropriation of Shakespeare's Antony and Cleopatra. Although Xena's version of this tragedy copies the voluptuous atmosphere of Shakespeare's play, it radically changes its characterization. The Roman triumvirate exemplifies rigid and corrupted power play: Octavius is (as yet) a peaceful idealist, but Brutus (who replaces Lepidus) has murdered Cleopatra, and Antony, although brave and intelligent, is depicted as a ruthless and over-ambitious power politician, who is only taken in by a woman much cleverer than himself. Cleopatra is the victim of the struggle between these oppressive masculine forces, and, unlike Shakespeare's Queen of Egypt, Xena, who replaces her, does not allow her feelings for Antony to divide her from her sensibilities. She never loses sight of the desirable outcome: a mutual weakening of the combative (masculine) forces of empire and colonial expansion through war, and the survival of the traditionally feminine values of peace and justice. She eliminates both Antony and Brutus, and to a much larger extent than Shakespeare's fickle and understandably insecure lover-queen, Xena, a focused and confident female superhero, acts as an empowered and pragmatic ruler, who sacrifices her own love for the greater cause of Egypt's freedom.     

Queering Ethnicity in the First Gay Films From Ex-Yugoslavia

Between 2002 and 2005 four of the Yugoslav successor states produced major feature films with lesbian or gay protagonists: Maja Weiss's Guardian of the Frontier (Slovenia, 2002), Dalibor Matani?'s Fine Dead Girls (Croatia, 2002), Dragan Marinkovi?'s Take a Deep Breath (Serbia, 2004), and Ahmed Imamovi?'s Go West (Bosnia and Hercegovina, 2005). As with other films from Eastern Europe that portray queer characters, all of these films were shot by straight directors, and the queer characters are not representations of real local queer communities, but instead are used as metaphors to address topics the filmmakers find more important, such as ethnicity and national identity. The ethnic hatreds that fueled the wars of the 1990s were mobilized through the heterosexual matrix. In these films anxieties about ethnicity are worked out through plots involving queer sexuality, though they work differently for male and female couples: female bodies can be conventionally objectified by the heterosexual male gaze, while male couples become the focus for anxieties about male rape.     

A Maternal Heart: Angelina Jolie,choices of maternity,and hegemonic femininity in People magazine

In the last decade practices of celebrity transnational adoption have garnered a significant amount of media attention. Through an analysis of transnational adoption as a site of morality where ideals of femininity are enacted and embodied, this paper brings together celebrity studies, theories of maternity, and literature on adoption in pursuit of studying hegemonic femininity as a social phenomenon spread by media discourses. Focusing on Angelina Jolie as an epistemic individual, this paper draws on concepts of female moral authority, global motherhood, and successful femininity to explore the ways transnational adoption adheres to norms of femininity and norms of racial hierarchy in an era of autonomy and choice. In a critical discourse analysis of articles covering Jolie’s transnational adoptions from People magazine, narratives of choice, individualism, and mobility emerge. Such narratives contribute to Jolie's hegemonic position as a globe-trotting, mobile figure of successful femininity made possible by her position in gendered, raced, and classed hierarchies. Jolie's presence in the mediascape continues to signal boundaries of femininity through choices enabled and constrained by historical ideals of motherhood, global dynamics of transnational adoption, and expectations of female moral authority.     

Something Else Besides a Father

While heterosexuality has long been the assumed ideology of reproduction, the material existence of over thirty-three thousand US children a year born from sperm donation alone attests to a radical disjuncture between our conceptions of conception and how a good many children are actually conceived. Reproductive technologies, ranging from the aforementioned sperm donation to the more complicated processes of egg harvesting, surrogacy, and IVF, can thus be read as subverting our notions of the heteronormative family. As such, assisted reproductive technology evokes widespread cultural anxiety, especially for how it challenges notions of gender, sexuality, and parenthood.

Not surprisingly, popular culture has stepped in to allay some of these anxieties, and as such it is a productive site through which to examine debates around gender, sexuality, and parenthood. At the very least, the wide market of Hollywood cinema is evidence of the discursive pull of these debates. In an examination of three recent and representative Hollywood films, Baby Mama (2008), The Switch, and The Back-Up Plan (both 2010), I will analyze how they both challenge and reinforce the “socially foundational status of the male–female couple.” Through their (re)deployment of a variety of cinematic conventions, these films attempt to yoke the radical potential of reproductive technology to a conservative ideology incorporating post-feminism and new masculinity that insists on the emotive primacy of the heterosexual couple and its “language of naturalness.”     

“I’d like an abortion please”: rethinking unplanned pregnancy narratives in contemporary American cinema

Released in 2014 and 2015, respectively, the American indie films Obvious Child and Grandma each feature a central protagonist who is dealing with an unplanned pregnancy and is pursuing an abortion. These pro-choice narratives not only challenge Hollywood cinema’s repetitive depiction of unplanned pregnancies that result in motherhood, but they critique the dominant political and societal discourses surrounding abortion and women who choose to terminate pregnancies. Tracing the history of cinematic portrayals of unplanned pregnancy, and reflecting upon how post-feminist culture has positioned the notion of choice, this paper notes the significance of Obvious Child and Grandma as films that not only feature abortion as a central theme, but utilize comedy in their navigation of a controversial subject. Furthermore, this paper argues that in their frank and positive engagement with termination as a potential resolution to an unplanned pregnancy, these films offer important attempts to destigmatize the subject of abortion.     

Patriarchy and the Horror of the Monstrous Feminine

This paper compares the gender politics expressed in Ringu and The Ring, paying particular attention to specific and noteworthy distinctions and crucial underlying cultural differences that structure and shape the gender politics articulated in the two films. While highlighting the divergences in the films' narratives and examining how their depictions of female characters reveal the fundamental historical, cultural, social and ideological forces that structure Eastern and Western views of femininity, women, and their roles in society, this paper argues that although both films reflect a misogynist patriarchal perspective in their depiction of evil, violent, destructive females, it is the American remake that is ultimately more conservative and reactionary in its simplistic alignment of women, the feminine and maternity with evil and monstrosity. In comparison, the Japanese original offers a more ambiguous treatment of a key female character, the mysterious and deadly Sadako, allowing her to emerge as a potential figure of resistance against conservative patriarchy, an element that is distinctly absent in the American remake.     

The Cinematic Quiet Girl from The Breakfast Club to the Badlands

This essay is intended to counteract the omission of the quiet girl from critical media thought and to recuperate her for film history and feminism. The quiet girl is a visible presence across numerous films and genres, from heartfelt melodramas like Corrina, Corrina to gruesome horrors like Carrie. Within these diverse texts, the quiet girl represents a consistent threat to authority. She keeps her thoughts to herself and, as such, just beyond the reach of other's surveillance, delineation and control. Her silences unravel the self-certainty of others and deny them access and closure. But, the threat the quiet girl poses is always in danger of being contained via her transformation into a more outgoing—that is, more knowable—version of herself. If all else fails, the quiet girl risks banishment or death. One text that circumvents the containment of the quiet girl, however, is Badlands. In Badlands, the girl protagonist's increasing silence over the course of the film coincides with her increasing freedom from male rule, suggesting the potential that silence holds for girls and feminism.     

A Single Man and a Tragic Woman

Depicting the fraught relationship between a gay man and his straight female best friend, Tom Ford's A Single Man (2009) offers a complex, and often contradictory, depiction of its leading female character, Charley. At once glamorous and troubled, stunning and damaged, Charley reproduces a number of problematic stereotypes regarding women, in general, and fag hags, in particular. At the center of these problems is the film's insinuation that Charley has a melancholic attachment to George, her gay male companion. At first glance, A Single Man reproduces Freudian constructs of melancholy as a pathological response to traumatic loss; this essay argues, however, that the film's many ambivalences also offer opportunities for critical consideration of melancholy as a tactical response to heteronormativity.     

“Nyota Uhura is Not a White Girl”

This essay examines the online debate surrounding representation of the Black/African character of Lt. Uhura in the 2009 prequel film, Star Trek. Some fans, particularly those viewing the film from a gender/race intersection, applauded her portrayal, while others, including many “slashers” who espouse a homoerotic reading of classic Trek from an ostensible gender/sexuality standpoint, disapproved—especially of Uhura's romantic storyline. Virtual observation and appraisal of these discourses demonstrate the adaptability of Patricia Hill Collins' intersectionality framework to studies of media reception, especially in terms of hegemonic and interpersonal domains of power and cultural studies notions of articulation. Accordingly, the investigation finds the first fan faction's rhetorical efforts more authentically and pro-actively oppositional.     

Rape culture,misogyny, and urban anxiety in NH10 and Pink

One of the most pervasive aspects of Delhi’s post-liberalization psychopathology has been everyday violence against women. The city’s rape culture was given an exceptionally sharp global focus after the horrific gang rape of Jyoti Singh on December 16, 2012. Recent Hindi cinema has begun to engage with some aspects of the capital’s misogynist urban ethos. In this paper, I look at how the Delhi subgenre of the “multiplex film” has engaged with rape culture, misogyny, and urban anxiety through a close textual and discursive analysis of two recent films—NH10 (Navdeep Singh, 2015) and Pink (Aniruddha Roy Chowdhury, 2016). Specifically, I identify how the December 16 “trigger event” and Delhi’s notorious misogyny are finding newer modes of representation through the interplay of genre and exhibition space. In what ways do these films position and imagine the “multiplex viewer”? New engagements with the figure of the consuming middle-class woman and the public discourses that surround her sexual safety and navigation of space have taken a central position in understanding the present urban psychosis of the capital. I suggest that these films and the forms of spectatorial identification that they privilege are intricately linked to the gendered spatial politics of the multiplex.     

Portrait of a Woman Artist

The analysis of the film Camille Claudel works to uncover the textual negotiations and sources of viewing pleasure rhetorically constructed into the cinematic representation of the film's subject. I argue that female viewers, in particular, are presented with a paradoxical viewing experience as the film both invites identification with Claudel, the film's subject, at the same time that it creates a sense of distance from the woman artist through her representation as an object of the filmic gaze. I conclude that these competing images may be seen as both ideologically interesting to female viewers and simultaneously challenging for feminist ideals.     

“A Girl Alone in a man's World”

War films were one of British cinema's mainstays throughout the 1950s, and one of the most iconic of the cycle is Ice Cold in Alex (1958). This particular film overturned some of the already familiar conventions of the genre, not least by allowing a female character, the nursing sister Diana Murdoch (played by Sylvia Syms), to play a more important role than women were usually granted. This article deploys close textual analysis to examine the representation of Diana, and suggests how this character not only reflects various competing and often self-contradictory discourses of 1950s femininity but also offers a rare depiction of women's contribution to the war effort from the decade following it.