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10 Cards in this Set
- Front
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Anna Silver’s critique of Twilight as a bildungsroman for adolescent readers in "Twilight is Not Good for Maidens” |
BILDANGSROMAN: - coming of age story - protagonist relies on her/his autonomy to navigate society MAIN ARGUMENT: twilight is a bildangsroman, but instead of autonomy bella is built on others BELLA SWAN: clumsy, few friends, passive, lacks ambition EDWARD CULLEN: - confident, protective, controlling, significantly older FAMILY: - bella's family =broken home of modern era - edward's family= idealized traditional family - by sanctifying edward's family, all the values of the past are also sanctified ex. abstinence only: sex= death MARRIAGE OF EDWARD AND BELLA: - blissfully bruised/ honeymoon pro-life issue with fetus (bells says she has no choice) BIRTH OF BABY= loss of bella's humanity - at the end of the last book bella becomes a strong, active character, but only through motherhood and marriage FOCUS: on affiliation not autonomy |
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Laura Mulvey’s film theory of the male gaze, including the male bias in the three gazes that comprise cinema as well as the “to-be-looked-at-ness” of female characters in Harry Benshoff and Sean Griffin’s “Exploring the Visual Parameters of Women in Film” |
MALE GAZE: - a visual power over the woman, rendering her as an object or piece of the man's property - men feel like they own or can own women in some way FILM THEORY- LAURA MULVEY 1. gaze of camera (assumed male) 2. gaze of male character on screen 3. gaze of male audience member who imitates first 2 gazes WOMAN: spectacle or image, object, passive MAN: bearer of the gaze HOW FILM ENHANCES WOMEN'S OBJECTIFICATION (women's to- be- looked- at- ness) - glamorous lighting, costumes, hairstyles, make- up, flattering lenses - made to stop the action, everyone in the room stops what they're doing to gaze at her beauty - she becomes an object to look at - SHOT TYPE & EDITING TECHNIQUES 1. shot of a man looking (objective shot)... cut to 2nd shot 2. shot through the man's eyes (his subjective point of view looking at a woman) - Voyeur: she doesn't know she's being looked at - FEMALE SPECTATOR HAS 2 CHOICES 1. she takes on the male gaze and objectifies the woman....or 2. she identifies with objectified woman
Mulvey does not consider the queer gaze - not all films feature solely the male gaze, sometimes the woman looks - yes men are also made to "be- looked- at" in films - BUT when men are made into spectates it's usually because they are leaping into action (particularly true in action movies) WHEN WE DO HAVE A FEMALE GAZE: power is reversed - male spectator has two choices 1. he can sexually objectify the male onscreen (homoerotic) 2. he identifies with the objectified male (he is feminized) - these films are called chick- flicks
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In Astrid Henry’s “Orgasms and Empowerment,” her progressive feminist reading of Sex and the City and the ways in which the show remains conservative about sexuality and gender experimentation |
FOUR FEMALE CHARACTERS IN SEX AND THE CITY ARE: 1. white, thin, conventionally attractive, well-off financially, heterosexual (non- progressive) 2. female friend ship; not frienemies (progressive) 3. female discourse (progressive) 4. female laughter, female humor (progressive) - men want to shut women down because "humor is a subversive act"
THIRD WAVE FEMINISM AND CHOICE: - abortion - marriage - careers SEXUAL POLITICS: - women's right to orgasm is central to the text - queer sexuality influencing straight sexuality - male bisexuality & metrosexuality= negatively portrayed - show seems less progressive with getting out of the gender binary - samantha= pansexual character |
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In Stefania Marghitu and Conrad Ng’s “Body Talk,” their framing of Lena Dunham’s authorship over her own body and the effects of this authorship in regards to the male gaze |
GIRLS: -HBO - 4 female friends in NYC exploring their sexuality - white, heterosexual, middle class LENA DUNHAM: creator, showrunner, lead actress(hannah), director, producer of Girls THE POST FEMINIST MASQUERADE: women perform femininity according to the stds. set by patriarchal society - Lena Dunham rejects post- feminist masquerade and doesn't give into the male gaze MARNIE character: - conventionally beautiful, thin, white - constantly sexually unsatisfied and interested in rising in social status - traditional role for women - passive character w/in an economy of beauty
FEMALE SELF- SURVEILLANCE VERISIMILITUDE (convincing/plausibility of truth) in portraying sex - lena dunham believes sex on TV is not verisimilitude - show female sexuality w/o the black/white or good/ bad dichotomy HUMOR: - as a female comedian there is a double standard |
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In Julia Serano’ s “Regarding ‘Generation W ars’ ,” her framing of the 90s cultural scene as both exclusive and inclusive to trans people, and how this negotiated reading differs from Jack Halberstam’s polemic framing of the past vs. the present |
TRANSGENDER: the umbrella term for those whose gender identity or gender expression differs from their biological sex - popular term used for people's whose birth sex does not match their gender identity (transexual) DRAG: gay performance using cross- dressing - subversive act that shows constructive nature of gender in society ex. ru paul's drag race (cisgender gay men;gender identity same as birth sex ) - GLBT changed to LGBT putting the L first QUEER SEXUALITY: - all sexuality outside monogamous, heterosexual, procreative intercourse - umbrella term that is equal to, no subordinate to "straight"
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Jackson Katz’s theory regarding the correlations between gangsta rap, white male fans, rejection, and misogyny in Chapter 8: “Race and Culture” of The Macho Paradox |
RACE: black athletes: take the fall with publicity white athletes: get less coverage HIP HOP - starts in south bronx in the mid 1970's; extreme stagflation - house parties and black parties begin - used records b/c couldn't afford instruments to extend the beat= DJ -ppl began to dance to the beat= break dancing - graffiti= use of public canvas b/c couldn't afford own SUBJECTS COVERED in music: - police brutality - inequality - racial profiling - poverty, drugs GANGSTA RAP: - glamorizing black on black violence - misogynistic and homophobic - became very popular among white people 70S AND 80S GANGSTA MOVIES ex. taxi drivers scarface: white actors, white directors 90s gangster: rap, black rappers ppl adopting gangsta: white suburban boys, asian suburban boys
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Jackson Katz’s analysis of four phenomena that he argues contribute to “rape culture” in Chapter 9: “It Takes a Village to Rape a Woman” of The Macho Paradox |
RAPE CULTURE: 1. Kobe Bryant: rape case never went to trial - victim is blamed - when celebrity is involved the audience will side with them - if there is a celebrity involved the victim will not be believed (message sent by giving kobe a standing ovation) 2. eminem - misogyny and homophobia - #1 way batterers return to wives or girlfriends, by using the kids - in order to be misogynistic you must be homosocial
WWE (WORL WRESTLING ENTERTAINMENT) - extremely lucrative side of entertainment - hypermasculine - degrading women
RADIO SHOCK JOCKS ex. Howard Stern: most of his shows are about rating women, most times porn stars PORNOGRAPHY there are more straight men doing research on pornography DOMINATION OVER WOMEN - what the consumer wants is more violence SEX TRAFFICKING - wouldn't be increasing if there was no demand - who is looking for prostitutes? --> men STRIPPERS - linked to rape culture - part of american culture in terms of bachelor parties - men just want to get off on the interaction with them; they don't want to date these strippers INTENTION: woman (stripper) may feel empowered by taking money from the guy, but she can't change the way he sees her KATZ ARGUMENT: in all instances that men are experiencing sexual transactions they are thinking the woman is a lesser creature
MENTORS IN VIOLENCE PREVENTION bystander: worst thing you can do as a bystander is nothing REWRITING WHAT DEFINES "MANHOOD" - manhood= dominance - male- on male violence (part of socializing boys) - male self violence: reckless driving, binge drinking, suicide "invulnerable" courage= speaking your heart bravery= someone going above an beyond to do something for someone else
- awareness of the experiences of women |
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Don Romesburg’s definition of the New Homosociality as well as its potential benefits and problems in “Holy Fratrimony” |
THE OLD HOMOSOCIALITY: - love and affection between men - 19th century: divide between the spiritual and the corporeal which allowed for more male-male affection - turn of the century: divide ends; sexologists & psychologists, & freud BUDDY FILM: homosocial relationshipthat decry homosexuality
THE NEW HOMOSOCIALITY: - return to intimate male-male friendships (bromance) downside: women are marginalized in bromance, - homosexuals seen in a negative way |
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In “Mass Movement,” Sara Marcus’ account of riot grrrl, describe the political backdrop that set the stage for the cultural movement |
LATE 80S & EARLY 90S - feminist movement is seen as a failure ore as something that has come to a completion THIRD WAVE FEMINISM: - return to the political activism of the second wave SUSAN FALUDI'S "BACKLASH" 1991: Anita Hill/ Clarence Thomas trials -sexual harassment 1. Girls to the front - girls don't go to events without getting sexually harassed - decide to form bands - boys weren't allowed near the stage 2. Do it yourself (DIY) - learn how not to play your instrument 3. zine culture (magazines) - made by and for riot grrrl fans - outside the market place 4. post concert discussions - talked about issues important to them ex. sexual harassment, abuse, sexism, empowerment 5. Linking the music with political activism - protests
- spelled grrrl because this movement has teeth, its going to roar/ bit your head off if you get in the way - gets women from this generation politically involved - media co-opts the movement and turns it into girl power, which can be bough and sold - spice girls
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In Gwendolyn Pough’s “I Bring Wreck to Those Who Disrespect Me Like a Dame,” describe the historical significance of wreck, examples from the linguistic analysis of the rhetoric of wreck, and examples of Black women bringing wreck in Hip-Hop |
WRECK: - a rhetorical act that shows resistance - wreck is ties to a history of speech patterns in black women's lives that act as a sustained resistance to oppression LANGUAGE RELATE DTO WRECK 1. going off (sister sass level and sapphire level) 2. talking back 3. turning it out (instead of taking abuse you turn it out abuser) 4. having a ****** bitch fit ("**** you" "I'm tires=d of being tires") 5. being a diva (bullet proof diva) (diva citizenship; goes into teaching/ black women able to teach other people a message)
BLACK SUPERWOMAN - trying to protect black men because they are more likely to be oppressed, racially profiled, and arrested ex. Harriet Jacobs "incidents in the life of a slave girl" (was a slave and describes in the book how she escaped to freedom)
BLACK FEMALE SEXUALITY - seen as primitive, relentless, wild, temptress - femininity becomes a survival skill tied to performance
1940s- 1950s - civil rights movement - club women who start a culture of dissemblance policing black female sexuality.... in conflict with BLUES WOMEN - backwards gaze music videos: the gaze of the camera on the booty - gaze of the booty ties women of color to lower class - virgin- whore complex
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