Constructed Realities: Claude Cahun’s Created World in Aveux Non Avenus

ABSTRACT

In her 1930 publication, Aveux non Avenus, Claude Cahun used the relationship between her inwardly focused poetic writing and symbolic photomontages to construct a unique reality for self-expression. This article focuses on three chapters and respective photographic images from the publication to relate Cahun’s, and by association her partner Marcel Moore’s, discussion on sexuality and gender expression. The utopian dreamscape created investigates issues of narcissism and otherness, female homosexuality, dandyism and going beyond gender, individual and social critique, mocking the antiquated views of art and writing, accepting and breaking taboos, while allowing for other departures from the accepted norm. Through analysis of the publication and supporting evidence from early influences, it can be seen that Cahun created a world in Aveux non Avenus where she could exist in a space between the established feminine–masculine binary of 20th-century Europe.     

Women are angry!

This essay examines the BBC comedy pilot Lizzie and Sarah as a dissonant account of contemporary femininities. With reference to work on the grotesque, and to contemporary television comedy's use of the grotesque as a strategy, I argue that this uncommissioned pilot episode offers an incisive critique of contemporary anxieties about middle-aged women and teenage girls. While the narrative employs parody and hyperbole to humorous ends, critical commentary around the show, from its producers and from broadsheet journalists, indicates that it overstepped boundaries in terms of its account of heterofemininity. Comparing Lizzie and Sarah to makeover shows on British television, the episode constitutes an ironic feminist makeover, with its protagonists choosing to kill their oppressors rather than submit to the disciplinary regime of heterofemininity. A close analysis of the dialogue, costumes and mise-en-scene is deployed to read this comedy as a scathing commentary on the continuing limitations of television femininities.     

“L” is for Looking Again

This paper focuses on an important aspect of the Showtime television series The L Word: its exploration of the representation of gender and sexuality in contemporary visual art. The program presents a sophisticated feminist perspective on the histories of female and lesbian representation, and it uses the work of particular contemporary artists, who are known for their engagement with questions of female, lesbian, and/or queer representation, to advance its critique of a long history of erasure, misrepresentation, and objectification. Simultaneously, while foregrounding its awareness of the contradictions of trying to create new forms of representation in a thoroughly commercial and commodified context, the program uses works of art to present the possibility of inventing alternative images or of redefining existing ones. The show's consistent attention to innovative art constitutes a formal device that offers a counter-discourse to those conventions of representation required by the show's need to appeal to a broad audience. In this way, The L Word offers attentive viewers new ways to look at and think about apparently familiar images and narratives.     

Becoming Pregnant

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.     

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.     

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.     

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.     

Discursive manoeuvres and hegemonic recuperations in New Zealand documentary representations of domestic violence

This article examines the production and promotion of A&;E's Rollergirls (2006), a US docu-soap featuring the Texas Roller Derby Lonestar Rollergirls (TXRD), the league that revived roller derby as a sport for female amateurs. Focusing on the representation of TXRD skaters in Rollergirls, as well as A&;E's promotional campaign for the series, this analysis is contextualized in relation to the role of female athleticism in contemporary US commercial culture. Relying on practices long used to trivialize women sports figures, Rollergirls' portrayals of TXRD skaters suggest ambivalence towards female athleticism as well as a desire to contain the gender-bent and sexually agential performances at the heart of women's roller derby. In addition to revealing the challenges television producers face in the representation of female athletes and other nonconformist women, the research offered here hopes to expand feminist television criticism beyond its conventional focus on fictional texts while also broadening feminist studies of sports media, which have centered primarily on news coverage.     

An Interrupted Postcolonial/Feminist Cyberethnography: Complicity and Resistance in the "Cyberfield"

Informed by Foucault's theorisation of the docile body, the gaze, and the Panopticon, we analyse how the gaze is operationalised in the popular makeover show How to Look Good Naked (HTLGN). We explore how a regime of discipline is (re)produced through the drawing of boundaries constructing the feminine/masculine and straight/queer binaries. We analyse the delineation of rules and the performance of practices to maintain these boundaries, which support emphasised femininity and hegemonic masculinity. Whilst HTLGN claims to challenge the “body fascism” prevalent in the fashion, beauty, and advertising industries and rid women, and more recently men, of the shame associated with not meeting these ideals, we argue that the show's resistance is far from radical, functioning instead as a mediated ritual of rebellion, endorsing and sustaining key elements constituting prevailing constructions of femininity and masculinity.     

Toward Authenticity

Scholars suggest we construct stories or narratives to help us create order and rationalize events that are difficult to explain. In contemporary society, journalists serve as mediated storytellers, and one story journalists have told from the perspective of sense-making is that of mothers who kill their children, a crime that can defy understanding. This qualitative textual analysis examines ten cases of maternal infanticide to determine the collective narrative told by journalists, exploring the dialectical and rhetorical functions of narrative. The analysis reveals that the news narrative offers moral lessons about the consequences of maternal incompetence and “inappropriate” feminine sexual behavior. The author questions whether the journalistic paradigm of detachment—traditionally associated with a masculine narrative style—is the best way to tell stories of women's lives and suggests feminist research practices can be used to capture the complexities of mothering work, as well as other complicated situations in women's and men's lives.     

After September 11

A major question in studying the relationship between mass media and society is whether mass media are agents of social change or reinforcers of the status quo. This study examined media portrayal of women to explore the relationship between the media and society within the Chinese context. Through a content analysis of 352 cover pictures of Women of China, China's official English women's magazine for foreign publicity, the authors investigated whether and how the media portrayal of Chinese women relates to China's social changes. Our findings show that the image of Chinese women presented by the covers of Women of China is to a large extent influenced by the socio-economic and political-ideological changes in China. Rather than a literal portrayal of the “reality,” it is a symbolic representation of the Chinese women created through the interaction of party ideology, editorial policy, and readers' taste as well as the changing reality of Chinese women's life and work. The interlocking of party control and societal influences has determined the typical images of “Chinese Women” suited to particular periods of time in the contemporary Chinese history.     

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.     

Xena On The Cross

This article examines those moments in Xena, Warrior Princess (XWP) in which Xena appears on the cross. Its purpose is to use those moments to explore how the messianic paradigm that dominates western heroic literature and popular culture affects and is reinvented in XWP. The paper argues that while XWP critiques the embedded violence and misogyny within this paradigm, the producers' commitment of XWP to a liberal vision threatens to pre-empt this critique with Xena's death in Japan and Gabrielle's reconstruction as a just warrior. Ultimately, the inconsistency between Xena's death and the explanations for it and the show's general rejection of the embedded violence of western ideals of justice invite a different reading of the show's ending than the producers may have intended.     

Are You the One? China's TV Dating Shows and the Sheng Nü's Predicament

This study looks into TV dating shows in post-millennial China. These widespread shows, exemplified by Fei Cheng Wu Rao (translated, by both local and global media, as If You Are the One), open up an ongoing social forum, which, to varying extents, enables self-articulations and renegotiations of class and gender identities and gives voice to selected female participants of the media. Through the lens of critical discourse analysis, the paper focuses on analyzing the stage arrangements and hidden rules of Fei Cheng Wu Rao, female participants' self-introductions, both male and female participants' depictions of their “ideal” spouse, and the remarks of the host and the two expert commentators. The study argues that these dating shows play upon the predicament of Chinese single women, especially those labeled as “sheng nü” (“leftover women”), who strive for upward social mobility, yet are constrained within the new gender mandate of a market economy. Stigmatizing single womanhood, the dating shows also grant a glimpse of the varied ways the media and women participants play a complicit role in reducing women's potential to resist new forms of male privilege in post-socialist China.     

Putting Her on the Shelf

This article analyzes discourse around pop stars Katy Perry and Nicki Minaj as fragrance spokeswomen. It mobilizes the term “post-feminist entrepreneurialism” to describe business strategies for female recording artists representing themselves as workers and capitalist subjects through the endorsement of mass-produced, hegemonically feminine consumer products that exploit individual brands to engender feelings of proximity and empowerment in consumers. Because such entrepreneurial efforts extend female pop stars' industrial viability, post-feminist entrepreneurialism is defined through a critical reclamation of “shelf life,” or the timespan that a commodity can be stored before it spoils. This concept is meaningful for female celebrities who embody the passage of time in complex ways and defend themselves against industrial and cultural perceptions of their own disposability. Post-feminist entrepreneurialism describes the contradiction between empowerment and the erasure of agency for such media professionals. Thus “shelf life” metaphorizes the affective registers embedded within the consumption of endorsed products and the demands placed on female pop stars to sell normatively feminine ancillary properties.     

“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.     

Television crime series,women police,and fuddy-duddy feminism

This essay argues that Prime Suspect has become a canonical text for feminist television studies and that Helen Mirren's performance of Lynda La Plante's creation has provided an influential template for television, and the broader culture, to imagine what a senior female police officer is like. So Jane Tennison is important not only within the depicted world of the “canteen culture” of the police in Prime Suspect, but also within the broader context of television production where she has demonstrated that crime shows with female leads can be extremely successful. Juxtaposing Prime Suspect with two later “girly” British TV police series, I ask how we might approach the “daughters of Jane Tennison” found in series such as Ghost Squad (2005) and Murder in Suburbia (2004–2006). Are these “postfeminist” shows? I argue that attention to these programmes can productively inform our understanding of what is entailed for women in not being “fuddy-duddy,” and my comments thus engage, in the continuing debate about the utility and periodisation of the notion of “postfeminism.”     

Feminine Purity and Masculine Revenge-Seeking In Taken (2008)

The 2008 film Taken depicts the murderous rampage of an ex-CIA agent seeking to recover his teenage daughter from foreign sex traffickers. I argue that Taken articulates a demand for a white male protector to serve as both guardian and avenger of white women's “purity” against the purportedly violent and sexual impulses of third world men. A neocolonial narrative retold through film, Taken infers that the protection of white feminine purity legitimates both male conquest abroad and overbearing protection of young women at home. I contend that popular films such as Taken are a part of the broader cultural system of representing social reality that elicit popular adherence to common-sense myths of white masculinity, feminine purity, and Orientalism.     

Sexual Messages in Black and White: A discourse analysis of Essence and Cosmo

The research presented employed critical discourse analysis to examine advice columns on sex and women's sexual freedom as expressed in two popular women's magazines, Essence and Cosmopolitan, over a three-year period. Essence has a Black female audience, Cosmo a predominantly White female audience. Critical discourse analysis is concerned with language as a primary force for the production and reproduction of ideology and belief systems that come to be accepted as common sense. The study asked whether and to what extent sex talk in these two magazines mirrored tenets of sexual liberation as set forth by “second-wave feminism.” Findings showed that while both magazines reinforced women's right to sexual pleasure and to ask for what they wanted, Essence came closest to mirroring the tenets of women's liberation by advocating women's right to say no to men's bad behavior and to be their own persons. By contrast, Cosmo advised women to be innovative in exciting and keeping their men and to be more flexible in managing men's less than desirable behavior.