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1.
《Journal of homosexuality》2012,59(12):1749-1763
ABSTRACT

This article explores the idea that the AIDS epidemic constituted a defining moment for the Canadian gay rights movement and illuminates the intricate power dynamics of the development of a community identity. Using grounded theory inductive and deductive content analysis, and interviews with activists from the Body Politic magazine, this article considers notions of health “from above” and “from below” by examining relations between the community and government and their confrontation with medicalization and the medical profession. I also examine how the magazine reported and negotiated issues related to the community’s self-policing and “self-managed oppression” through efforts to promote safer sex and risk reduction.  相似文献   

2.
This article examines the representation of Black women's weight in contemporary diet advertising and African American film. It positions socioeconomic class as a significant factor that distinguishes between “good” weight and “bad” weight. I argue that there is a distinction to be made between representations of poor and working-class fat Black women and middle-class fat Black women. The increased presence of Black women as diet spokeswomen is also questioned. The social construction and filmic representation of the African American cuisine “Soul Food” and the political economic notion of neoliberalism are used as frameworks to deconstruct how notions of self-discipline, personal responsibility, and citizenship impact upon Black women's bodies. As a case study, I examine the careers of Oprah Winfrey and Gabourey Sidibe and the ways in which their weight has been differently coded based on class, the neoliberal rhetoric of “personal responsibility,” and food. I ultimately critique how contemporary media has helped to shape contemporary discourses on Black women's weight.  相似文献   

3.
In this paper, I investigate Indian filmmaking that emerges from the encounter between urban experience and documentary practice to examine how Indian feminist critique responds to neoliberal discourses of urbanism and gender. I consider the analysis of urbanism in Sameera Jain’s documentary My Own City (2011) which depicts how women become “out of place” in neoliberal cities by focusing on the gendering of urban temporality, mobility and belonging, in relation to which women’s subjectivities and performances are mediated in the nation’s capital New Delhi. In the second section, I conceptualize the use of a deliberate strategy of place-specific performance in the film as “emplacement” which enables a visible field of gender performances and observable mutations of both, subject and space. In contrast to documentary staging or re-enactment, conceptualized as emplacement, the audiovisual recording of complex relations of “becoming” allows place-specific ecologies of material, sensory and social environments to be considered together in the construction of gender. Following the film, the paper outlines provocations regarding critical ways of conceptualizing place in how cultural forms like documentary represent gender in relation to geographies and environments.  相似文献   

4.
5.
Abstract

In academic and popular debates about sexualisation, the “mainstreaming of sex in the West” is a common catchphrase. As noted by post-colonial and critical race scholars, categories such as “the West” remain powerful discursive ideas shaping how both researchers and researched border and construct race, difference, and sexuality. However, there is very little research that employs a post-colonial analysis of young people’s negotiations of sexualised media, most particularly studies that elucidate how the oppositional frameworks of colonial discourse sets up normative and “othered” subjectivities. In order to address this gap, I turn to Stuart Hall’s classic paper The West and the Rest to reflect on a project undertaken in South Australia with young people from a broad range of cultural backgrounds. In a fascinating set of reflections, the young people present a powerful set of challenges to the binary of the West and the Rest through their narratives on sexualised media. Taken together, these complex and sometimes contradictory narratives remind us of the problems associated with talking in generalised and universalising ways about “sexualisation in the West.”  相似文献   

6.
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.  相似文献   

7.
《Journal of homosexuality》2012,59(6):757-785
In this study, the author uses ethnographic and interview data from Pussy Palace, a lesbian/queer bathhouse in Toronto, Canada, to examine the ways in which the bathhouse space impacted participants' sexuality, behaviors, and notions of self. The Toronto Women's Bathhouse Committee (TWBC), an explicitly feminist and queer organization, is responsible for putting on Pussy Palace events and in creating an atmosphere that is simultaneously sexual and safe. Findings indicate elements of both spatial praxis and sexual agency, wherein individuals expressed being able to “take risks,” “find their sexuality,” and “discover who they are” in a safe space, where nonnormative bodies and sexualities are to be celebrated. Although participants expressed feeling “liberated,” many also described feeling anxious, awkward, and insecure. Within a sexual space where bodies are exposed and highly salient, these anxieties worked to inhibit and curtail bodily expression. The author concludes by discussing the significance of spaces like Pussy Palace for lesbian/queer individuals when it comes to sexual expression and the need for further research when it comes to examining lesbian/queer sexualities and public sexual cultures.  相似文献   

8.
“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.  相似文献   

9.
Chinese television dramas over the past decades have seen the rise and decline of various narratives, but no other narratives speak to the emerging urban middle class's fear and anxiety more palpably than the stories of the maid. However, despite the growing popularity of the maid stories among urban viewers, most of these stories do not resonate with domestic workers themselves. How do we make sense of the growing popularity of the maid stories among urban viewers? And how do we account for the differentiated capacity to resonate and identify with the characters among viewers? These are important questions to consider if one is to understand the new cultural politics of power and social formations in post-Mao China. In this paper, I explore some of the crucial ways in which a controlling gaze is facilitated and naturalised by the visualisation of place and space in these dramas. Then, through both critical analyses and engaged ethnography, I demonstrate how two sets of controlling gaze—everyday and televisual—reinforce and justify each other. Finally, I advance the concept of “peripheral vision,” which, I show, denies the modernist “master” narrative of the city and, instead, empowers the subaltern figure with an epistemological position of “eye-witness” and anthropologist of the city.  相似文献   

10.
This paper situates Richard Fung's auto-ethnographic video Sea in the Blood within the context of the personal illness narrative as a mode of political resistance which emerged alongside the movements of feminist health activism and global HIV/AIDS activism. I argue that as a critical illness narrative, which reads the experiences of transnational travel and migration in and through a narrative of illness, race, and sexuality, Sea in the Blood disrupts the genres of both the personal illness narrative and the imperial travel narrative while resisting the assimilative pull of what Charles L. Briggs calls the “political economy of communicability.” Specifically, I argue that Fung resists cultural and political absorption using three primary strategies: the symbolics of blood, the juxtaposition of illness and travel narratives, and the tactics of misalignment, or the self-conscious use of contradictory narratives and competing modes of representation. Through these strategies, Sea in the Blood is installed as a form of revolutionary activism which comments on the historical pathologization of foreign bodies, and exposes the ways in which the medicalization of race underwrites the medicalized history of sexuality. Accordingly, Sea in the Blood inaugurates what might be thought of as a politics of incommunicability through the sensuous and metaphorical re/circulation of foreign bodies.  相似文献   

11.
This paper examines one facet of the media persona of high profile South African liberation struggle figure, Winnie Madikizela-Mandela: how English-language media represented her conspicuous consumption during a monumental decade in the country's history, the 1990s. In the framework of theories of post-coloniality and intersectionality, the paper analyses the discourses in a corpus of thematically coherent media texts featuring Winnie's lifestyle and consumption practices. Media narratives of Winnie's taste for “diamonds,” “champagne,” “mansions,” and “expensive clothes” are deconstructed as ideologically loaded and influenced by racialized and gendered power struggles. The extent to which Winnie is presented as having “sold out” on the liberation struggle and having “bought in” to neoliberal values is theorized in the context of the politics of wealth and poverty in a newly liberated society.  相似文献   

12.
This article explores maternal desire, loss, and control by reading Carolee Schneemann's performance Interior Scroll (1975) through Tracey Emin's photographic print I've Got It All (2000). More specifically, I consider Schneemann's work on the energy of female sexuality and maternal desire through Emin's recurrent visualizations of sexuality and maternal loss. The artists' refusal to disengage with the commodified (dis)pleasures of femininity leads me to consider the differently contextualized handling of these issues in each artwork. I explore the mediation of the body of each artist by positioning Emin's work as a “source” for my reading of Schneemann's performance. Invoking the notion of “preposterous history” (Bal 1999), I argue that the concepts of the “live” and the “mediated” are differently intensified by operating outside of the constraints of chronology. Hence the inter-generational dialogue between these particular female artists, whose work has been produced at different historical moments, is itself generative of thoughts and ideas that are irreducible to the individual works.  相似文献   

13.
While lad's magazines such as FHM and Loaded have been subject to critical attention with respect to the way they represent and negotiate models of masculinity, there has been a significant absence of work that addresses the representation of women in these and other publications, such as Zoo and Nuts. In this paper I argue that these magazines normalise pornography through an invocation of the “real,” by encouraging reader action and interaction, and through alignment with women's magazines. The construction and representation of the “real” is difficult to reconcile with the claims of irony used to excuse representation of women as sexual objects. Such claims are indefensible and are symptomatic of hegemonic gender norms in which women are not yet recognised as human.  相似文献   

14.
Have radical discourses about children's sexual liberation/empowerment become normative technologies of neoliberal governmentality? How do we see sexualised representations of girls and what does the sexualised child look like? A contemporary consensus between media narratives and radical cultural critiques about the dangerous intolerance of child sexual abuse (CSA) moral panics suggests that the CSA moral panic discourse is caught up in the neoliberal “regulation of intolerance” (Brown 2006) through the governance of the gaze. Focusing on the 2008 Australian media event that erupted over Bill Henson's “art” photographs of naked girls, this article analyses how a perception that the images sexualised children was governed by experts as a reactionary and perverse CSA moral panic gaze. I argue that this form of governance depends on the exclusion of the political gaze of the survivor, a gaze that has been vital to a feminist critique of hetero-normative paedophilia. Re-claiming an affective feminist gaze involves thinking beyond the upwardly mobile discourse of CSA moral panic and through the occluded question of the sexual politics of paedophilia.  相似文献   

15.
From their initial appearance on US broadcast network television in the mid-1970s to their feature film incarnations in 2000 and 2003, the characters known as Charlie's Angels have been at the center of American popular culture's negotiations over feminism, femininity, and the relationship between the two. This article analyzes the “remaking” of Charlie's Angels over the past 30 years as a means of considering the “remaking” of discourses of feminism and femininity in a changing historical context. In addition to considering the original television series, this analysis also examines attempts to “clone” the series in late 1970s TV, parodies of and homages to the series in 1990s television and film, and the twenty-first-century feature films. I argue that analyzing the various re-imaginings and remakes of Charlie's Angels can be a means of revealing how post-feminism, as a series of cultural responses to feminism, has wound its way through American popular culture over the past 30 years, achieving an increasingly naturalized, and thereby more hegemonically entrenched, position over time.  相似文献   

16.
This paper examines cinematic images of gender in the South Asian diaspora through four recent films—Bend It Like Beckham, Bollywood/Hollywood, Monsoon Wedding, and Second Generation. Using post-colonial theory along with feminist film theory, I analyze the father/daughter dynamic in the above films for their treatment of race, gender, sexuality, and generation. I pose the following two questions: 1) how do father/daughter representations in these films perpetuate ideas of dominant fatherhood within the diaspora; and 2) how do these representations offer images of “oppositional fatherhood,” which challenge stereotypes of South Asian patriarchy? I look at the colonial influence on contemporary homeland and immigrant identities. I then discuss the patriarchal component of South Asian father/daughter relations. I move on to examine notions of good fatherhood (represented through love and loss) and bad fatherhood (as sexually violent) and how the different films deal with these issues.  相似文献   

17.
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.  相似文献   

18.
This research aims to critically examine how the complexity of the ongoing process of “coming out” in small towns and rural spaces in Croatia undermines the imagined hierarchical distinction between rural/urban spaces. The narratives of LGBQ individuals living in these spaces subvert imaginaries of their communities as homogeneously hostile and threatening. Some participants did, however, perceive other spaces as either “gay-friendly” or “deeply homophobic.” As Croatia is transnationally perceived to be a part of a larger “homophobic region,” the construction of the rural/urban hierarchical distinction is (re)produced and (re)configured within discourses that signify Western countries and so-called more developed regions within Croatia as “more open and liberal” as opposed to “more homophobic and backward” spaces. These distinctions between countries, regions, and the rural/urban spaces come into contradiction with each other and are undermined by my interviewees’ own incongruous experiences.  相似文献   

19.
This paper foregrounds the voices of women who read chick lit or watch contemporary chick flicks or both, and who, to date, have been absent in the scholarship on representations of women's sexuality in this genre. It is informed by an empirical study of responses from forty-one Australian women to an anonymous Internet survey that asked, “How do you think women's experiences of sex are portrayed in the chick genre?” and “If you were a writer of the chick genre, how else would you portray women's sexual experiences?” Following the works of Jonathan Potter and Margaret Wetherell, and Joke Hermes on “interpretive repertoires,” the data reveal that most readers draw on two repertoires to interpret representations of women's sexuality—one, as “passive or asexual,” and the other as “perfect with Mr Right”—both of which are situated within a wider “romantic love” frame of reference. Participants are, predominantly, critical of the way women's sexuality is represented in the chick genre. The findings, that also show that most readers have a preference for texts that show a broader range of sexual representations for women, are discussed in the light of current theorizing about postfeminist texts.  相似文献   

20.
This article considers the implications of the presence of Juno's pregnant girl body in the film Juno (2007). The narrative follows the high school student Juno's pregnancy, her decision to have the baby adopted, and its birth as she attempts to determine her feelings for her friend Bleeker. As a pregnant girl, Juno persists in a state of liminality and disrupts linear ideas of becoming: becoming woman, becoming mother, becoming feminist. Having considered contemporary discourses of pregnancy, I explore Juno's representation of the pregnant body as both abject and humorous, recognising the restrictions upon girls' sexuality and moments in which they are contested. I then move to consider Juno in relation to discourses of risk and responsibility, acknowledging the ways in which the film simultaneously perpetuates and critiques the presumption that teenagers make bad parents. I argue that analysing the juncture of girl and pregnancy represented in Juno enables a move beyond simplistic expectations of “normal” feminine girlhood to recognise it as complex and messy.  相似文献   

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