Producing mobility: visual narratives of the rural migrant worker in Chinese television

This paper employs literatures of mobility to explore the ways which rural migrant workers in China are represented publicly via television drama. Through an analysis of the popular serial Mingong, the paper examines the underlying politics of contemporary migration in China through three themes: the territorialisation of rural and urban spaces; the embodiment of boundaries via corporeal practices and subjectivities; and the politicisation of rural migrant desires. This analysis demonstrates the significance of television in crafting discursive understandings of mobility and migrants that are suffused with contemporary governmentalities of generating but also managing and excluding migration.     

The “smart” body politics of Lena Dunham’s Girls

Since its 2012 debut Girls has received an extraordinary amount of attention and criticism from both academic circles and popular culture critics. It has been critiqued for its depiction of female nudity and its portrayal of female sexual subjecthood. At the center of these debates is how author–star Lena Dunham’s body is positioned and utilized aesthetically and politically. This essay examines the brand of body politics and mode of female sexual subjecthood that the series creates and performs. In order to track how Girls produces this body politics and female sexual subjecthood I position it in relation to earlier feminist television series and indie cinema. This essay argues that Girls’ particular brand of body politics and the mode of female sexual subjecthood it depicts is characterized by emotional intimacy, irony and reflexivity. Furthermore I contend that Girls’ gender politics is enabled by the series’ utilization of a low-key aesthetic and the “smart” tendency, more commonly discussed in relation to American indie cinema.     

A Body of Text

This article re-evaluates the relationship between gender identities, embodiment, sexuality and text-based, synchronous CMC (computer-mediated communication). A discourse analysis was conducted on two different IRC channels: #Cyberbar, a channel that hosts predominantly “straight” male/female gender performances; and #Queer, a channel mostly visited by participants who articulate “gay male” gender identities. The notion of embodiment played a pivotal role in both channels, as demonstrated by the identification of three “interpretative repertoires” that involve the invocation of corporeal aspects in the participants' performance of gender and sexuality. This invocation reaffirms gender's status as connected to a binary sexed body, which limits the scope of gender performances in a text-based environment such as IRC. However, the discursive interactions in #Queer did articulate alternative interpretations of masculinity, which challenged traditional heteronormative standards governing “male behavior.” Eventually, it is concluded that the discourse in both channels is constructed by participants who bring their everyday, embodied experiences online. IRC might be a textual environment, in contrast to many of the web's popular graphical spaces, but this does not mean that the body is any less present.     

Invisible golden girls? Post-feminist discourses and female ageing bodies in contemporary television fiction

Abstract

The popular television series The Golden Girls (1985–1992) seems to be an exception in the history of the representation of third-age women femininities and bodies in television fiction. This series about four mature women living in the same house in Miami made ageing women visible in television representations. Older women are generally invisible in popular television fiction. Despite this absence, a discourse on ageing and femininities is present in all sorts of popular media texts. We will question post-feminist discourses on ageing bodies and femininities. Are the post-feminist claims regarding ageing bodies present in popular television fiction? Moreover, are these discourses represented by the portrayal of ageing bodies? We will analyse the representations of ageing femininities in television fiction labelled as “post-feminist television fiction.” The series Sex and the City, Desperate Housewives, and Girls will be studied using a textual analysis to look for discourses on ageing female bodies and their particularities in relation to post-feminism. We distinguished a limited set of three sets of discourses (losing femininity, masking of ageing, and the wisdom of ageing) on ageing femininities. Although ageing feminine bodies are absent, a discourse on ageing, “good” ageing, and acceptance of ageing is present in the narration in all three series. The discourse on the masking of ageing, however, is predominant.     

Transgression,embodiment, and gendered madness: reading Homeland and Enlightened through critical disability theory

This article critically analyzes the gendering of madness on Enlightened and Homeland through the lens of feminist disability studies as it functions in relation to feminist theoretical debates about whether mental illness is a social construction designed to control unruly subjects or an embodied response to social and personal trauma. This analysis unpacks the manner in which Homeland and Enlightened represent female protagonists whose madness functions both as a site of resistance against neoliberal logics of self-sufficiency and productivity and as an embodied, experiential reality. However, in both programs, these representative strands are positioned as entirely independent of one another—resistance is limited to the workplace, while embodiment fits within the domain of home and family—and both narratives punish their protagonists for their attempts to bridge these two spheres.     

Women in community radio: a framework of gendered participation

Women’s participation in community radio is examined through a case study of Ireland, with data gathered by survey, interviews and a focus group. Key findings note that women are under-represented as participants in community radio, but there is little activity within the sector to address this imbalance. Similarly, women’s voices are absent from community airwaves but this is framed through a limited understanding women lacking on-air confidence. Solutions to the problem were limited to individual stations rather than approached in a collective manner. There was no sense of women’s voices on air being a priority issue for stations, for the sector, nor for the national regulatory body. With regard to content, stations largely tended to produce “islands” of specialist women’s programmes but there was a sense that women produced content in ways that were not normative and were explicitly linked to gender. Gendered social structures, as well as organisational structures within community radio, constituted further barriers to women’s equal participation in community radio in Ireland. Finally, the presence of women as role models, sponsors, and managers, who were relational in their approach, was key gendered benefits that women derived from their participation in community radio.     

Women and Death in Film,Television, and News: Dead But Not Gone

Abstract

This article investigates the relationship between science and nation, class and gender in the televised Nobel Banquet, held after the Nobel Prize ceremony. The representation of the body of the Swedish Queen is used as a lens through which to view intersectional power dimensions. Drawing on cultural, media and gender studies, this article examines the mediated persona of the Queen in the televised Nobel Banquet via contextualized textual analysis. The article suggests that the purpose of the Nobel Foundation in inviting the royals is to enhance the social status of science. But it is the Queen who has received more TV time than anyone else—scientist or royalty—since her TV debut in 1976. How can the camera focus on her silent body be interpreted in relation to science? This article suggests that the meaning of the Queen’s body also implies certain understandings of central power dimensions. The body of the Queen signifies that gender, heterosexuality, class affiliation, nationality, and race are important and normative factors in scientific discourse. At the Nobel Banquet, the representation of her body identifies science as associated with the heterosexual, white elites, and reproduces a traditional, ideal femininity.     

The “Rich Bitch”

This project offers the opportunity to examine the ways in which normative conceptions of class and gender cohere to produce an archetypal, trans-historical villain, what we term “the rich bitch.” In this essay, we employ the concept of irony to analyze how Bravo's The Real Housewives of New York City creates rich women as objects of cultural derision, well-heeled jesters in a populist court. The show primes its savvy, upscale audience to judge the extravagance of female scapegoats harshly in tough economic times. The housewives' class and gender flops are inter-related on the show. The lure of class status produces inconsiderate mothers. Ultimately, The Real Housewives of New York City uses irony to produce a provocative, post-feminist drama about rich women too crass to be classy, too superficial to be nurturing, and too self-obsessed to be caring.     

The Body as a Site of Gender-Related Distress: Ethical Considerations for Gender Variant Youth in Clinical Settings

ABSTRACT

The present article maps out understandings about embodied distress among gender-nonconforming youth. Feminist bioethics and queer-inflected clinical perspectives are used to inform thinking about ethical, nonpathologizing health care in the case of gender-related distress. Specific attention is directed at self-harming among gender variant and trans youth. This is contextualized in relation to the role that self-harm plays for some LGBT youth, where it may be seen as a rite of passage or as reasonable and inevitable way of coping. The particular complexities of self-harm among trans youth seeking clinical intervention are examined. Queer bioethics is proposed as potentially facilitating productive uncertainty with regard to the diverse imagined futures of gender variant and trans youth.     

社会性别意识的构成及影响因素分析——以福建省厦门市的调查为例

本文以福建省厦门市的调查数据为依据,通过因子分析方法研究社会性别意识的构成因素。回归分析结果表明,两性在对待女性的压制态度和倾斜态度上存在相当大的性别差异,年龄、受教育程度、个人经济收入和婚姻关系等都对性别意识的不同方面产生不同程度的影响。构建和谐的性别关系,不仅需要增强文化和性别意识教育,在发挥女性主体意识的同时,也要让男性更充分地认识和肯定女性的价值,此外,还要进一步发挥公共决策在维护妇女权益和实现男女平等中的作用。     

Queer (in)frequencies: SiriusXM’s OutQ and the limits of queer listening publics

On February 23, 2016, OutQ, the nation’s only LGBT-focused satellite radio station, ceased broadcasting. This essay theorizes a queer listening public as intentionally imagined as such and concomitantly taken up as a queer listening public by queers. It utilizes in-depth interviews with OutQ founder John McMullen, and OutQ show hosts Frank DeCaro, Romaine Patterson, and Michelangelo Signorile, as well as posts from Facebook Fan Pages, to explore the ways OutQ was both imagined and functioned as a queer listening public. Using the interview data, the essay argues that a queer listening public functions in three ways. First, it creates a specifically queer space for queer listeners, almost at the exclusion of heterosexual listeners. Second, it creates a queer affective community where events important to LGBT citizens can be “felt” in a communal, mediated space. Third, a queer listening public seeks to create a national/transnational queer listening public for geographically isolated queers. Additionally, this essay argues that in the cessation of OutQ, SiriusXM practiced what I call queer dispersal, a term deployed to describe the ways marketable aspects of queer life, like entertainment and music, are dispersed and hegemonically incorporated into mainstream media properties.     

Buffy the Vampire Slayer and Xena: Warrior Princess: Reception of the Texts by a Sample of Lesbian Fans and Web Site Users

This qualitative study of television reception examined the ways in which a sample of lesbian fans of Buffy the Vampire Slayer and Xena: Warrior Princess incorporated their experiences as viewers, fans, and Internet users with relation to their sexual identity as lesbians. Specifically, this study examined the ways in which participants used these television programs to inform their sexual identity development. Results indicated that participants used television and the Internet to normalize and affirm lesbian experience, to decrease negative feelings regarding their lesbian identities, and to decrease social isolation.     

Negotiation of Sexual Identity in Gay On-Air Talent on West Texas Radio and Television Media

ABSTRACT

This analytic autoethnography explores identity negotiation in on-air media personalities in West Texas by augmenting the author’s personal experience with the lived experiences of five other gay radio/television on-air personalities. Employing the communication of identity theory, results indicate conflicts between the personal and communal frames, the relational and communal frames, and the enactment frame with all other frames. Strategies used to help navigate these conflicts include employment of hegemonic masculinity norms, self-monitoring, and assimilation.     

Soap operas,women, and the nation: Sri Lankan women’s interpretations of home-grown mega teledramas

This essay examines the place of home-grown soap operas, known as mega teledramas, in the lives of women in the South Asian island nation of Sri Lanka. While female audiences are often vilified for their consumption of mega teledramas in Sri Lanka, this study finds that these narratives have assumed a social role in women’s friendship networks, becoming a shared cultural source in their everyday lives. The representations in the mega teledramas were offering a range of diverse meanings to the women and their readings of women protagonists, central to the narratives, were intrinsically linked with nationally constructed notions of womanhood.     

Transgender as Ingroup or Outgroup? Lesbian,Gay, and Bisexual Viewers Respond to a Transgender Character in Daytime Television

From November 2006 to April 2007, the daytime drama All My Children featured Zoe, the first transitioning transgender character on broadcast television. Acknowledging historical tension within the lesbian, gay, bisexual, transgender (LGBT) community over transgender acceptance, this study examines how lesbian, gay, and bisexual (LGB) viewers of All My Children reacted to this character. LGB viewers were more likely to dislike the character than non-LGB viewers, yet were also more trans-supportive than non-LGB viewers. Further evaluation suggests LGB viewers' negative response to Zoe was tied not to the transgender status of the character but specifically to unhappiness with a plot development seen to threaten the identity of the lesbian character, Bianca. Applications of social identity theory and implications for community politics are discussed.     

Commentary on the treatment of gender variant and gender dysphoric children and adolescents: common themes and ethical reflections

This commentary offers preliminary ethical reflections on the range of treatments for gender variant and gender dysphoric children, adolescents, and young adults described in the preceding five clinical articles. After clarifying the terminology used to discuss these issues, this commentary reviews several common themes of the clinical articles. Focusing on ethical values of informed consent, full disclosure, the minimization or avoidance of harm, and the maximization of life options, the commentary expresses concerns about various treatment options endorsed by some of the articles. In particular, this commentary focuses on how these practices problematically reproduce social prejudices and stereotypes and how they fail to acknowledge and embrace the multiple pathways for expressing one's gender. It also compares and contrasts the ethical issues related to gender variant and gender dysphoric youths and youths who identify as lesbian, gay, bisexual, or queer.     

Written on the Body

The author considers two recent prize-winning films by women directors (one British and one American) with similar, if not identical themes. Placing them in the category first defined by David Considine as “the cinema of adolescence” the author considers the filmic traditions from which they arise. In both of the films under consideration—Fish Tank and Girlfight—the young female protagonists attempt to resist or subvert socially imposed restrictions. The author considers the way the entrapment of the working-class teenage girls at the centre of these films is represented by non-professional “actresses” selected because they come from the same milieu of run-down sections of cities as their on-screen characters. She explores the way in which these two writer-directors use their actresses to embody on screen issues of class, gender, ethnicity, and culture, and the near-impossible routes out of poverty. To do so, the author utilises theories from sociology, feminist theories of the body, as well as theories derived from film studies to examine these politically driven films.     

Thoughts on the nature of identity: how disorders of sex development inform clinical research about gender identity disorders

Disorders of sex development (DSD), like gender dysphoria, are conditions with major effects on child sexuality and identity, as well as sexual orientation. Each may in some cases lead to change of gender from that assigned neonatally. These similarities-and the conditions' differences-provide a context for reviewing the articles in this issue about clinical approaches to children with gender dysphoria, in relation to assessment, intervention, and ethics.     

Cinderella's Having a Ball

“Ugly Betty Mania” has created numerous versions of this telenovela across the globe. This paper explores the representational schema within the franchise's Cinderella/Ugly Duckling narrative, whilst focusing on the exclusionary notions of beauty in Mexico's hit 2006 production La Fea Más Bella (“The Most Beautiful Ugly Girl”). By reading the slapstick comedy within this version through feminist theories of laughter, this paper identifies representational modes that challenge traditional Manichaean formulas within the Mexican telenovela, which are tied to notions of good (beauty) and evil (ugliness). Examining this telenovela's popularity through a cultural and industrial analysis, this paper uses data from interviews with industry professionals to consider how an increasingly disengaged Mexican telenovela viewership may have been recaptured through the slapstick gender dynamics of La Fea Más Bella.     

出生性别比偏高的特征与原因分析——对湖北省麻城、广水、安陆三市的调查

湖北省麻城、广水、安陆三市总出生性别比升高呈现出的特征:一孩出生性别比基本正常或略微高些,但二孩及以上出生性别比超高,而二孩出生性别比超高是总出生性别比升高的主要原因;政策内二孩生育存在严重男孩性别选择行为;贫困农民家庭是选择性男孩生育的主要群体;性别选择最容易在农村流出育龄人群中实现。农村经济社会文化环境、农民家庭多重生育需求、男孩偏好、生育性别选择,这些环环相扣的因果关系变量,以及胎儿性别鉴定与人工终止妊娠易获得性和现行生育政策的“挤压”效应等,是造成调查地出生性别比异常的综合因素。