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.     

Framing "Killer Women" Films: Audience Use of Genre

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.     

“Emasculation nation has arrived”: sexism rearticulated in online responses to Lose the Lads’ Mags campaign

In the spring of 2013 a British feminist campaign sought to have men’s magazines, such as Zoo, Nuts, and Loaded, removed from the shelves of major retailers, arguing that they are sexist and objectify women. The campaign—known as Lose the Lads’ Mags (LTLM)—received extensive media coverage and was the topic of considerable public debate. Working with a data corpus comprising 5,140 reader comments posted on news websites in response to reporting of LTLM, this paper explores the repeated focus on men and masculinity as “attacked,” “under threat,” “victimised,” or “demonised” in what is depicted as a sinister new gender order. Drawing on a poststructuralist feminist discursive analysis, we show how these broad claims are underpinned by four interpretative repertoires that centre around: (i) gendered double standards; (ii) male (hetero)sexuality under threat; (iii) the war on the “normal bloke”; and (iv) the notion of feminism as unconcerned with equality but rather “out to get men.” This paper contributes to an understanding of (online) popular misogyny and changing modes of sexism.     

Boys will be boys

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.     

“Little Lena's a Big Girl Now”

Lena Zavaroni became famous as a child star on the British TV talent show Opportunity Knocks in 1974, suffered from anorexia from age thirteen, and subsequently died from complications associated with the problem in 1999, age thirty-five. This article uses 165 press articles from 1974 to 1999 to analyse how Zavaroni's relationship with anorexia was constructed in the British popular press. Existing feminist work suggests that stars with anorexia are worth studying because they make eating disorders popularly visible, with the coverage providing an occasion to analyse how the media constructs anorexia in relation to particular ideologies of femininity. But this article argues that it is important to explore how discourses on fame become intertwined with discursive constructions of anorexia, shaping how such problems are explained and gendered. Because Zavaroni appeared in the media as a child, her trajectory also dramatises how anorexia is seen to be linked not only with the role of the media, but with the development of female identity. Thus, whilst bringing stardom and celebrity into the frame, this article thus seeks to contribute to the feminist work which interrogates how popular constructions of anorexia mark out normative/disordered femininities.     

“It's Up to the Women”

In 1932, Ladies' Home Journal (LHJ) ran an extensive campaign, orchestrated by public relations pioneer Edward Bernays, to persuade American women to end the Great Depression through consumer purchases. Although the campaign failed, it is historically significant, illustrating how PR and magazines worked together to prescribe women's roles—a point little explored by feminist historians. While some women read the campaign hegemonically, others resisted its message, even adapting campaign language to suggest alternative plans. Foremost among these, I argue, was Eleanor Roosevelt (ER), whose 1933 book title, It's Up to the Women, is identical to the campaign's slogan. Attributed to ER alone, the slogan has been reprised in twenty-first-century Democratic presidential campaigns and used elsewhere. Patriotic shopping has also reemerged in recent crises. Although less important to feminists, FDR's (Franklin D. Roosevelt) famous “fear” line from his First Inaugural address resembles language in LHJ's campaign. Thus, the campaign can be seen not only as a site where the contested nature of women's roles was played out but one that illustrates how media language can be repurposed to shape changing cultural and political messages.     

Iron lady to old lady: the neutering of James Bond’s M

Abstract

This paper contradicts interpretations of James Bond’s M, played by Judi Dench, as a feminist triumph. Through a focus on aging, it argues that the initially powerful M is ultimately reinscribed into patriarchy. In Dench’s eight films, M undergoes two processes of age-based reconfiguration: “post-sexualization” and “domestication.” Drawing on Mulvey’s and Butler’s psychoanalytic theories, this paper shows that, early on, M is post-sexualized as she is distanced from youthful femininity and aligned with phallic masculinity. Following this, and contrary to consensus that M’s domestication began in the Daniel Craig era, this paper contends that by the middle of the Pierce Brosnan era, M’s power is already exposed as a façade and she consequently enters the maternal realm. Expanding on Tasker’s writing on women in action films, this paper details how M’s authority not only shifts entirely into the maternal sphere but is also systematically stripped until she becomes a peculiar mother-child. Finally, this paper identifies an emerging pattern within popular media of turning Ma’ams to Moms to martyrs. Evidence is taken from Dench’s final Bond films and other contemporary action film series (Star Wars, The Hunger Games, and Divergent). This paper concludes that age has become a post-feminist strategy to neuter powerful women and return them to patriarchal and heteronormative frameworks.     

Gender and Racial Stereotyping in Rape Coverage

This article uses critical discourse analysis to discuss and analyse articles about rape that appeared in a South African newspaper, Grocott's Mail, between 14 October, 2008 and 29 October, 2009. Drawing on existing literature on “rape myths” in media coverage of rape, this article argues that Grocott's Mail perpetuates racial and gender stereotypes through the way in which it reports on rape. While not all of the articles included in the analysis use rape myths, most use one or more when discussing rape incidents. Specifically, Grocott's Mail tends to use rape myths that blame the victim for the rape and de-emphasise the role of the perpetrator in the rape.     

“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.     

Moving,Making and Atmosphere: Routines of Home as Sites for Mundane Improvisation

In this article, we examine how everyday atmospheres of home are made, maintained and improvised through habitual routines of movement, and the implications of this for co-design for energy demand reduction. Drawing on our ethnography of how people experienced and constituted a sensory aesthetic of home, we analyse the example of lighting use in night-time routines. We propose seeing these routines as sites of the possible, where everyday making might be engaged for co-design. Thus suggesting refocusing ethnographic design research beyond what people do in their homes, towards how they move through and make the atmospheres of their homes.     

Border Narratives,HIV/AIDS,and Latina/o Health in the United States: A Cultural Analysis

Part of the promise of new technologies at the turn of the millennium included claims that they would engender new forms of social equality. At this time, US marketers promoted new technologies as ushering in a new era of globalized prosperity. My analysis of advertisements within Wired, the flagship magazine of the “digital revolution,” compares marketing texts appearing at the height of the technology boom with more recent examples. In the face of economic uncertainties and increasingly fractured audiences, marketers adopted narrower portrayals of masculinity and femininity. Here, advertisements cultivated a pervasive form of maverick masculinity to place technologies as the province of an elite, white, male subculture. This (re)turn to traditional and conservative imagery is particularly alarming given evidence of women's continuing exclusion in technological cultures and occupations. Ultimately, these portrayals provide insight into the ongoing commodification of notions of dis/empowerment, rebellion, and countercultural revolution within US marketing discourses.     

“He’s a total TubeCrush”: post-feminist sensibility as intimate publics

Abstract

In this paper, we analyze the website TubeCrush, where people post and share unsolicited photographs of “guy candy” seen on the London Underground. We use TubeCrush as a case study to develop Berlant’s intimate publics as a lens for examining post-feminist sensibility and masculinity in the liminal space between home/work. The paper responds to notions of reverse sexism and post-sexism used to make sense of women’s apparent objectification of men in the digital space, by asking instead where the value of such images lies. We suggest that in TubeCrush, value is directed onto the bodies of particular men, creating a visual economy of post-feminist masculinity of whiteness, physical strength, and economic wealth. This celebration of masculine capital is achieved through humor and the knowing wink, but the outcome is a reaffirmation of urban hegemonic masculinity.     

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.”     

Patriarchy,Power, and Female Masculinity

ABSTRACT

This article examines the place of “butch” within the women's movement. The political potentials of butch in both her refusal of patriarchal constructs of femininity and her transmutation of masculinity will be explored. It will be argued that the butch lesbian threatens male power by severing the naturalized connection between masculinity and male bodies, by causing masculinity to appear “queer,” and by usurping men's roles. However, for “butch” to truly have feminist potential, it also needs to be accompanied by a feminist awareness and a rejection of aspects of masculinity that are oppressive to women. Hence, “butch feminist” need not be an oxymoron, but a strategy for challenging male domination and power.     

“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.     

“You Bring Great Masculinity and Truth”: Sexuality,whiteness, and the regulation of the male body in motion

This study contributes to analyses of how heterosexuality and whiteness work together in the embodied social practice of dance and the representational realm of television. It does so by attempting to destabilize theories of sexual difference dependent upon the concept of a stable, “natural,” and unitary body by highlighting the representational work that underpins heteronormative (white) masculinity within the first season of the syndicated reality dance television series So You Think You Can Dance Canada. The paper argues that though the presence of male dancers in the (often feminized) representational realm has the potential to challenge simple heteronormative dichotomies of masculine/feminine, reality dance television in this case plays with, yet ultimately reaffirms, heteronormative masculinity and does so relationally, through the juxtaposition of racialized male and female dance contestants over the span of a series. While it is not surprising that a reality show depends heavily upon heteronormative stereotypes, these discursive mechanisms are rendered invisible, in this case, when couched in a discourse of authenticity, technical ability, and dance aesthetics, resonating beyond the context of television, into the ways we think about dance practice.     

Sexual violence in serial form: Breaking Bad habits on TV

Walter White’s (Bryan Cranston) attempts to isolate, degrade, exploit, frighten, and control his wife Skyler (Anna Gunn) are tactics that are well-documented in studies focusing on abuse. Yet, despite the representation of both implicit and explicit forms of domestic abuse and sexual violence throughout Breaking Bad (2008–2013), there is an apparent disconnect between how this behaviour is perceived on screen and how it is ostensibly regarded in society. It is here, at the intersection of audience reception and sociological theory that I argue Breaking Bad represents abuse as part of a broader negotiation of masculinity, one that contributes to the ongoing marginalization of women’s voices in both visual media narratives and, by extension, society. In particular, I argue that despite the series’ long-form structure, the lack of emphasis placed on instances of coercive control by the writers and directors is partly responsible for contributing towards a culture of misogyny and victim-blaming fostered by fans towards Skyler evident in numerous online blog posts, fan forums, social media platforms, and Anna Gunn’s own treatise on the portrayal of her character in the New York Times.     

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.     

Having it both ways: Two and a Half Men,Entourage, and televising post-feminist masculinity

This article explores representations of juvenile post-feminist masculinity across two television texts: Two and a Half Men and Entourage. These programs exhibit a contradictory continuum of masculine performances allowing men to “have it both ways,” or to be both sensitive and casually sexist within contemporary culture. By detailing how similar kinds of masculinity exist across two seemingly disparate channels and television programs, this analysis also decouples automatic assumptions about representation as being primarily linked to notions of “quality” or “complex” TV emerging from cable and pay cable channels, and instead demonstrates the importance of looking for representational similarities as much as differences and distinctions across channels in order to fully understand the relational shifts between constructions of masculinity and post-feminist illogics.     

“Fruits,” “Fags,” and “Dykes”: The Portrayal of Gay/Lesbian Identity in “Nance” Jokes of the ’50s and ’60s

ABSTRACT

What is humorous and how it is interpreted very much depends on the norms and values of a culture at a particular point in time, the characteristics of who is telling jokes, and the makeup of the audience. This article presents archival material and an analysis of an outsider's jokes about gays and lesbians. These were told to primarily heterosexual audiences by a heterosexual comic. They reveal the assumptions Americans held about gays and lesbians throughout the 1950s, 1960s, and a few years into the mid-1970s, when most of these jokes were compiled. Although generalizations about gay/lesbian humor in that period cannot be made from one person's private collection of nearly 1,000 jokes, they do reveal several clear patterns: Much of the humor about male homosexuality is used to debase men and their masculinity, by making them passive, feminine, or weak, except for their hypersexuality. The women are also depicted in the jokes as sexually eager, especially to give oral sex to possibly straight women or acting in the male insertor role. Rarely were the gay/lesbian jokes focused on political issues of discrimination, oppression, or romantic relationships.