Romance and the Female Gaze Obscuring Gendered Violence in The Twilight Saga

This article examines the violence inherent in the popular Young Adult Fiction series The Twilight Saga, considers how this violence can be re-coded as reassuring through the use of romance genre conventions, and further extends this analysis by applying the concept of the female gaze to the series. The article initially examines the gendered violence within The Twilight Saga, considering both the physical violence that occurs, as well as the mental and emotional violence, using Evan Stark's notion of coercive control. The series is then considered as conforming to the romance genre, using the work of Tania Modleski and Janice Radway, discovering how instances of violence can be re-coded as reassuring. This analysis is then further extended by introducing the concept of the female gaze, and considering how a female gaze might impact the way the potentially anxiety-inducing male body can be read as desirable, and how culturally determined understandings of what constitutes the desirable male body are evolving.     

Learning to listen: epistemic injustice and gothic film in dementia care education

Listening is a critical and under-theorized dimension to struggles against injustice and marginalization. In the wake of critiques from the disability movement of the pre-eminence of expert medical voices, educating professionals to listen to health service users has become particularly critical. The utterances of people with dementia have frequently been subject to, in Miranda Fricker’s terms, “testimonial injustice”: that is, seen as irrational, unreliable, and not to be believed. This article will examine the way in which the generic conventions of the gothic, more specifically what Mary Ann Doane has described as “the paranoid women’s film,” are used in a short film, Darkness in the Afternoon, widely screened in dementia care education in the UK and internationally. Drawing on interviews with dementia care trainers, analysis of training materials, and the film itself, this article proposes that gender and genre is used in this film as a strategy to reorient the listening and affective practices and testimonial sensibilities of health and aged care workers.     

Sex and the City and Consumer Culture: Remediating Postfeminist Drama

This essay analyzes the video games in the popular Diner Dash franchise, paying specific attention to the games' protagonist Flo. While on its surface, the series appears to be a number of simple games about a waitress, they reflect more complex themes about gender, empowerment, work, and play. Ultimately, I argue that the game series can be seen as an open-ended (producerly) text that invites several possible interpretations (and negotiations) of femininity. By understanding the games in this open-ended manner, we are able to see how different meanings can potentially reinforce beliefs about feminism and femininity with women players—rather than advocating specific kinds of feminisms, means to empowerment, or lifestyles. All of these issues coexist simultaneously within the Dash games, creating a rich potential for media studies analysis, and a better understanding of women's leisure.     

Gamers,gender, and cruel optimism: the limits of social identity constructs in The Guild

Abstract

Video game culture has a long, ongoing history of problems with representation and inclusivity, as a wide variety of forces have constructed video games and gaming as masculine. Against this background, the popular gamer-oriented web series The Guild (2007–2013) appears to offer a unique counterperspective, presenting a gender-diverse cast and focusing primarily on female protagonist Cyd “Codex” Sherman. As such, the show could potentially diversify popular conceptions of gamers. Through a close reading of The Guild, however, we demonstrate that it fails to do so. More specifically, the show’s portrayal of gamer identity serves as a form of cruel optimism, presenting it as an ideal that promises game players a consistent subculture and a sense of belonging, but ultimately traps them in narrow roles and identity constructs. Furthermore, the show’s gamer ideal also reproduces particular forms of gendered inequalities that posit aggressive, competitive masculinity as superior to both more passive masculinities and all forms of femininity. Overall, this leads The Guild to reinforce gaming culture’s existing problems with sexism and regressive stereotypes. Because of this, the show presents a relation of cruel optimism, assuming the appearance of positive change while failing to deliver on it.     

From Damsels in Distress to Sexy Superheroes

Video games are an important form of media that have the potential to impact gender role attitudes. Sexist portrayals of characters may affect gender behaviors and attitudes. As such, it is important to discover how characters, particularly females, are portrayed in video games. The current study examined video game magazines analyzing the portrayal of female video game characters and how this portrayal has changed in the last twenty years. Results indicate a growing trend toward a decreased benevolent sexism portrayal and an increase in a hostile sexism portrayal over time.     

“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.     

News media on trial: towards a feminist ethics of reporting footballer sexual assault trials*

Court reporting is rarely discussed in journalism ethics, as it seems to be widely viewed as a straightforward task. However, this article develops a theory of meaning-making in court reporting to show how media coverage of high-profile sexual assault trials poses complex ethical questions. Positioning court reporting as a “hybrid” genre between legal narrative and news reporting, I show how genre conventions grant particular kinds of significance to events and speech acts. Subtle discursive and narrative strategies privilege either the prosecution or defence’s narrative, portraying the defendant or complainant as “guilty” even without overt sensationalising or vilification. Using the trial of Australian footballer Brett Stewart as a case study, I show how even reporting that meets current ethical standards can be ethically questionable, including reinforcing myths and stereotypes about rape—such as relating to mental illness and DNA evidence. I suggest that another, feminist approach to journalism ethics is needed in these cases, to balance the right of a defendant to the presumption of innocence with the rights of a complainant, and the feminist imperative to counter damaging attitudes towards rape.     

“I Dumped My Husband For a Turkish Toyboy”

In this article, we analyse how British tabloid newspapers represent relationships between mature British women and the younger Turkish toyboy lovers they meet (and sometimes look for) on their holiday; a practice that is often considered as the female counterpart to male sex tourism, albeit labelled differently as “romance tourism.” Employing a combination of thematic, lexical, narrative, and visual analysis, we examine how the British tabloids make sense of the contradicting social categories and power relations at play in these encounters, in particular with respect to age, gender, nation, and economic position. We consider these contradictions as typical for the intersectionality of gender identities, and use the tabloid stories about romance tourism as a means to study how such intersectionality becomes manifest in everyday practices. We find that the tabloids construct only one dimension of identity as key to women's lives, that is the one of motherhood and more abstractly of caring for others. In addition, they present women as highly vulnerable to exploitation by foreign, exotic others, who are portrayed either as evil con men or—in the sporadic upbeat, happy-ending story we found—as dependent and passive objects of women's desires.     

Unfolding female quiet in wargames: gender bias in Metal Gear Solid V: The Phantom Pain from representation to gameplay

This article investigates the cultural mediatization of the relationship between gender and war by looking at the representation and agency of female presence in one of the most popular sagas in video games: Metal Gear Solid. We have specifically focused on the last chapter of the series, Metal Gear Solid V (MGS5) by putting under scrutiny the character of Quiet. The analysis draws upon the rich theoretical corpus of feminist film studies, with reference to two main concepts: the “visual pleasure” by Laura Mulvey and the “female voice” by Kaja Silverman. These analytic tools are employed in order to scrutinize both the visual representation and the design of the game. We argue that MGS5 is a relevant instance of a large part of gaming production that develops a war imagery characterized by (a) the exploitation of women and (b) an employment of female body as a tool to fulfill the visual pleasure of the male gaze. The figure of Quiet, with the oversexualization of her body and the deprivation of her voice, is particularly telling in this respect. Our analysis aims to identify effective solutions in order to think about more inclusive digital games able to address conflictual issues without surrendering to sexism.     

Domesticating Hermione

WIKTT, or “When I Kissed the Teacher,” is a listserv for the circulation and discussion of fan fiction featuring a romantic/erotic relationship between Harry Potter characters Hermione Granger and Severus Snape. WIKTT discussions reflect the discursive functioning of online fan fiction communities, as well as members' negotiations of the Harry Potter canon, conventions of the romance genre, and current gender norms. Tracing WIKTT's debates around the representation of rape in Hermione's fan fiction romances achieves two complementary goals by both showing the variety of modern women's interpretations of heterosexual exchange, and charting the complex process by which fan fiction communities and genres emerge from ideologically heterogeneous cycles of on-going discussion. Thus, while fan fiction communities can represent an alternative to editorial controls and the supply and demand model of professional publishing, the exact content of those visions will vary widely across and within various writing communities.     

Representing sex workers in video games: feminisms,fantasies of exceptionalism,and the value of erotic labor

This article critiques the representation of sex workers in “AAA” video games, with a focus on the devaluing of erotic labor. Existing feminist commentary has interpreted these representations as examples of the objectification of female game characters, perpetuating harmful misconceptions of sex work as fundamentally exploitative. By contrast, taking cues from feminist media studies, porn studies, and sex workers rights activism, I argue that what makes these representations of sex workers problematic is not their engagement in erotic labor but the ways that the games in which they appear devalue that labor, through both dialogue and interactive elements. Across their many appearances in AAA games, it is strikingly common for sex workers to offer their services to player-characters for free or at a discount, or for games to allow players to take their money back after erotic labor has been performed. This contributes to a gendered fantasy of exceptionalism in which a player-character’s masculinity is tied to being too attractive or too powerful to pay for sex. Critiquing these representations demonstrates how AAA video games prompt players to reenact widespread cultural biases against sex work. It also points toward the need for a diversity of feminisms within game studies.     

The Erotic Lesbian in the Spanish Sexploitation Films of the 1970s

This article studies the representation of female homosexuality in the newly born erotic Spanish cinema of the 1970s, questioning the political and social implications of these first representations of lesbianism which contributed to shaping the first democratic discourses around women's sexuality. In order to do so, it looks at some of the most relevant films of the genre (most of which have never been studied before) and examines their portrayal of lesbian sex, focusing later on the figure of Ignacio F. Iquino and his film The Mask as the main representative of this genre in order to prove how the narrative construction of the eroticizing lesbian was largely based upon fascist conceptions of homosexuality.     

Cohabitation and Marital Expectations Among Single Millennials in the U.S.

Cohabitation has surpassed marriage as the most common union experience in young adulthood. We capitalize on a new opportunity to examine both marital and cohabitation expectations among young single women in recently collected, nationally representative data (National Survey of Family Growth 2011–2015) (N?=?1467). In the US there appears to be a ‘stalled’ second demographic transition as single young adult (ages 18–24) women have stronger expectations to marry than cohabit and the vast majority expects to, or has, already married. Among young women expecting to marry, the majority (68%) expect to cohabit with their future spouse but about one-third expect to follow a traditional relationship pathway into marriage (to marry without cohabiting first). In addition, women from disadvantaged backgrounds report the lowest expectations to marry, but there is no education gradient in expectations to cohabit. Marriage expectations follow a “diverging destinies” pattern, which stresses a growing educational divide, but this is not the case for cohabitation expectations. Our results, based on recently collected data, provide insight into the contemporary context of union formation decision-making for the millennial generation.

     

Chick Non-Fic

This paper identifies a new variant of chick lit, a non-fiction variety derived from contemporary memoir that could be called “chick non-fic.” An emerging group of young women writers is capitalizing on the essential comedic nature of chick lit, but, rather than producing fictional texts, has taken the genre in the direction of creative non-fiction. Chelsea Handler, Tina Fey, Sarah Silverman, Samantha Bee, and Olivia Munn—all young(ish), female comedians with loyal fan followings—have each penned memoirs that adopt literary conventions of chick-lit novels and invoke the same post-feminist or third-wave feminist concerns. Their texts embroider on the established conventions of two genres—chick-lit fiction and the memoir—to produce a provocative new variant.     

“I'm Nobody”

Television and film writer Joss Whedon has produced a number of popular culture works which explore representations of what female bodies are seen to be capable of and how these representations affect what female bodies can do. Texts such as Buffy the Vampire Slayer (1997–2003), Serenity (2005), and Dollhouse (2009–2010) are as much celebrated for subverting gender and genre conventions as they are criticized for reinforcing sexualized images of women and violence. Instead of approaching Whedon's texts in terms of their representations of gender, and how feminist or otherwise these representations are, this paper explores the ways in which Whedon's texts suggest that subjectivity is textually and discursively constructed. In particular, I will stage a reading of his latest television program, Dollhouse, as a representation of the somatechnical construction of bodies and identity. Somatechnics refers to the inextricable connection between the soma, the material corporeality of bodies, and the techne or techniques and technologies through which bodily being is produced and lived. By making visible the somatechnics of bodily being and the ways gender and embodiment are experienced through and produced by cultural and discursive technologies, Dollhouse emphasizes the role of power in the construction of embodied identity rather than something which always or inevitably oppresses and constrains bodies gendered as female.     

Intensive Parenting: Fertility and Breastfeeding Duration in the United States

Using 30 years of longitudinal data from a nationally representative cohort of women, we study the association between breastfeeding duration and completed fertility, fertility expectations, and birth spacing. We find that women who breastfeed their first child for five months or longer are a distinct group. They have more children overall and higher odds of having three or more children rather than two, compared with women who breastfeed for shorter durations or not at all. Expected fertility is associated with initiating breastfeeding but not with how long mothers breastfeed. Thus, women who breastfeed longer do not differ significantly from other breastfeeding women in their early fertility expectations. Rather, across the life course, these women achieve and even exceed their earlier fertility expectations. Women who breastfeed for shorter durations (1–21 weeks) are more likely to fall short of their expected fertility than to achieve or exceed their expectations, and they are significantly less likely than women who breastfeed for longer durations (≥22 weeks) to exceed their expected fertility. In contrast, women who breastfeed longer are as likely to exceed as to achieve their earlier expectations, and the difference between their probability of falling short versus exceeding their fertility expectations is relatively small and at the boundary of statistical significance (p = .096). These differences in fertility are not explained by differences in personal and family resources, including family income or labor market attachment. Our findings suggest that breastfeeding duration may serve as a proxy for identifying a distinct approach to parenting. Women who breastfeed longer have reproductive patterns quite different than their socioeconomic position would predict. They both have more children and invest more time in those children.     

Mad/Fat/Diary: exploring contemporary feminist thought through My Mad Fat Diary

My Mad Fat Diary profiles young people falling in and out of love, fighting with their parents, experimenting with drugs and alcohol, and testing limits. Yet the show offers a fresh look at tired tropes by ignoring dramatic conventions that suggest that ugly truths or non-normative bodies should remain out of view and instead sheds light on ignored, but common, teen experiences and identities. In doing so, this television program engages with complex feminist concepts such as intersectionality and narrative instability and renders these concepts intelligible to audiences with varying degrees of theoretical familiarity. This analysis considers how My Mad Fat Diary explores complex feminist concepts and identities. In particular, the show considers the ways that both fat and madness can be viewed as identities which are often stigmatized, but which may also morph into sites of pride through body acceptance work, aligned with fat activism, and a rejection of sanist discourses, in line with emergent work in the field of mad studies. In both its intersectional presentation of teenage experiences and identities and the multifaceted nuances of truth-telling and narrative arc, the show portrays an instance of contemporary feminist grappling with embodied identity, sanity, and complicated and intersected subjectivities.     

“Everyone Can Make Games!”: The post-feminist context of women in digital game production

After over a decade of scholarly research and well-documented harassment, sexism, and other forms of exclusion and marginalization, digital games culture is currently the object of heightened attention and discourse related to diversity and inclusion. This paper considers the context of this shift with a particular focus on the relationship between gender-focused inclusivity-based action in the form of women-in-games incubators, post-feminist discourse, and the neoliberal context of digital games production. As opposed to rife anti-feminism and similar “backlash” sentiments, articulations of post-feminism within the digital game industry provide insights into the tensions inherent in introducing action for change within a conservative culture of production, particularly for women in the industry. At the same time, the contradictions and tensions of the post-feminist ethos allow for actions that function through this logic while subverting it. Through a brief consideration of three exemplary post-feminist articulations by visible female figures in the North American digital games community, this article explores the challenges and opportunities presented by the gaps and contradictions of post-feminism in games culture and production. It concludes with equal measures of caution and optimism, indicating future directions for study and activism.     

Male dominance and sexism on YouTube: results of three content analyses

This study conceptually and empirically extends a study by Wotanis and McMillan in which the authors claimed that female video producers are underrepresented on YouTube and receive much more negative (including hostile and sexist) feedback than male YouTubers. Using quantitative content analysis, this study supported the claim of female underrepresentation. Among the top 100 most subscribed YouTube channels in nine different countries (N = 900 channels), with a statistically significant proportion of only 25%, female video producers were strongly underrepresented. Additionally, a second content analysis of N = 2,400 video comments directly replicated the original study’s main quantitative results. This analysis confirmed that the popular female US comedy YouTuber Jenna Mourey (“JennaMarbles”) received much more negative (including hostile and sexist) feedback than her male counterpart Ryan Higa (“nigahiga”). However, a third content analysis of N = 6,000 video comments from five other pairs of comparable comedy YouTubers did not reveal that women’s videos generally attract a larger number of negative video comments. Possibly, women attract more negative comments only if they display their sexuality (like Jenna Mourey) or address feminist topics, but not if they conform to gender role expectations. Future research directions and practical implications are discussed.