Representations of women, or more exactly of gender, and the presence and works of women filmmakers constitute an important area of analysis for gender studies and feminist film theories. In Turkey the presence and the participation of women in the public sphere have been one of the important objectives of the Kemalist modernization project since the founding of the modern nation-state in 1923. However, despite the modernizing efforts to empower women in different spheres of life there was no woman director (...) in Turkish commercial feature cinema until the beginning of the 1950s. Since the beginning of the 2000s the number of women directors has increased significantly, reaching a number well above that of the entire period before. This article investigates the reasons behind this increase based on quantitative data gathered from secondary sources and in-depth interviews with women producers and directors. It also questions whether and to what extent the increase in the number of women film directors contributed to the production of ‘women’s films’, based on a qualitative analysis of films produced by women directors between the years 2004 and 2013. The results show that in addition to technological and aesthetic changes in the industry, the increase in the availability of international and national public funding for low-budget independent film productions and the enlargement of the women’s movement allowed more women directors to enter the film industry. While half of the films made by women directors in the 2000s could be qualified as ‘women films’, the other half remained, largely due to market forces, within the conventions of popular or art house cinema. (shrink)

Why did different agencies, promoting diverse products, create three ads featuring violence perpetrated by women on their rather immature and submissive male partners in order to sell their products? I posit that the female viewers connect subconsciously with the image of the proactive female protagonists through the psychological mechanism in which we identify with ‘our like’ on the screen. This, in turn, allows for the projection of ‘common ground’, a positive politeness strategy, to favourably dispose the female audience towards the (...) protagonists and, by extension, the products advertised. The success of these ads depends on women viewers identifying with the apparently dominant female protagonists – a case of ‘gender stereotype reversal’. However, I put forward that through the violent modification of their partners’ behaviour, the women become responsible for them, and so the ads convey the common gender stereotype of women as carers. (shrink)

In feminist media studies, the growing body of research on media production has indicated that journalism remains divided along gender lines. The purpose of this study is to address the lack of relevant multi-method research on gender inequality in journalism. To assess the structural position of women in the journalistic workforce, the authors conducted a large-scale survey of journalists in Belgium. The survey results were explored in more depth by conducting qualitative interviews with 19 female journalists. The analysis confirms the (...) existence of all traditional barriers that women journalists experience. The added value of this study is that it enumerates several additional difficulties, and offers insight into the strategies that the respondents use to deal with gender-related career obstacles. These strategies were associated with the degree of flexibility in the newsroom for journalists with children, the choice to work part-time or freelance, and the use of new communication technologies. (shrink)

ABSTRACTWomen television journalists have long faced criticism and harassment regarding their appearance. The normalization of social media engagement in newsrooms, where journalists are expected t...

ABSTRACTThis study explores dominant applications of graphic affordances in a sample of children-related charity appeals collected from the official websites of nine prominent Polish foundations in...

This research illuminates struggles over cultural definitions of femininity by examining how cultural gatekeepers respond to girls' vocal critique of inauthentic media images. Interviews with 10 editors at two national girls' magazine organizations provide a rare glimpse into their contradictory responses to requests for depicting “real girls.” Editors legitimate and share in the critique, claiming they should change images but cannot. In these accounts, they reveal struggles over altering narrow images of femininity at the organizational and institutional levels. Editors also (...) delegitimate girls' critique as misguided by calling on the media organizations' norms and schemas about how the reader is supposed to understand the images. Paradoxically, here, editors claim that they can change images but should not. Ultimately, the power of girls' resistance is tempered, as both sets of responses lead to the girls' critique being inefficacious in redefining femininity. The study contributes to an understanding of how femininity-defining cultural institutions operate to create and sustain gender stratification. (shrink)

This article will argue that Wife Swap and other ‘reality’ television formats can be seen as part of a wider project: a bourgeois project that, on the one hand, is preoccupied with self-improvement and the accrual of just the right forms of cultural, symbolic and economic capital, and on the other, defines itself in opposition to an imagined working-class project of disinvestment of the self. This article argues for the existence of a middle-class gaze in the production of ‘reality’ television (...) shows in general and in Wife Swap in particular and examines the complex and inextricable links between the middle-class gaze and gender. (shrink)

This article unravels the process of objectification by empirically examining a social context where it occurs almost incessantly: fashion modeling. Drawing on an ethnography of fashion modeling in Amsterdam, Paris and Warsaw, I argue that objectification is neither ubiquitous nor one-dimensional: it takes place in specific social contexts and unfolds itself differently under different social conditions. Moreover, objectification is not unidirectional: it is done by and happens to both men and women. By taking an experiential perspective which involves models’ subjective (...) responses to being objectified, I call into question theoretical arguments of objectification pertaining to disempowered subjects, and the assumption that objectification is inherently negative or immoral. Instead, I argue that objectification is socially rooted in institutions and specific situations and that this matters considerably for its varying forms, levels of intensity and the emotional and practical responses it evokes in people. This does not imply that objectification is less compelling as a process, or easy to avoid. Objectification might be all the more effective exactly because the process is embedded in different social contexts, and adapts itself accordingly. (shrink)

Representations of breast cancer are examined in three popular women's periodicals targeting African American readers: Ebony, Essence, and Black Elegance. The researcher focuses specifically on representations that reflect certain ideas/ideals about the sharing and creating of information about the disease and related issues, such as health care and body image. Magazine selections are analyzed and critiqued according to the epistemological principles outlined by Patricia Hill Collins in Black Feminist Thought. The author calls for further research into how and why particular (...) social and cultural groups consume information about health and illness in particular ways. (shrink)

Sexual violence of various forms, be it sexual harassment or sexual abuse, perpetrated by male professors against their female students has gained societal visibility through media broadcasts. This article tells the tale of the 2013 recruitment to the University of Iceland of a former political party leader, minister and ambassador. He was publicly called out in 2012 for his alleged sexual offences, perpetrated some years earlier. The story is told from two different viewpoints: from that of the media and from (...) the article author’s own standpoint as assistant professor in gender studies with co-responsibility for his de-recruitment. In the media story, opinion leaders from the political, judicial and media spheres take centre stage. The author thus utilizes the concepts patriarchal homosociality and influencers. Based on the findings from the media analyses, the author lays out her defence and justification, using embodiment as the core of her argument. She draws on black feminist knowledge validation processes, more specifically, the ethic of caring and personal accountability. Furthermore, she explores affective feminist pedagogy, i.e. connecting mind and body through self-actualization. By contrasting the two accounts, that of the media and her own feminist standpoint, the author sheds light on the role that influencers play in preserving patriarchal power and the status quo against ‘fire-raising feminists’ in academia and society at large. (shrink)

This thesis examines the ways in which contemporary cinema from a range of different countries, incorporating a variety of styles and genres, explores the relationship to the past of people living in the present who are affected by traumatic national histories. These films, which I’ve grouped under the term ‘temporal gateway’, focus on the ways in which characters’ experiences of temporality are fragmented, and cause and effect relationships are loosened as a result of their situations. Rather than a recreation of (...) historical events, these films are concerned with questions of how to remember the past without being defined and trapped by it: often exploring past events at a remove through techniques of flashback and mise-en-abyme. This thesis argues that a fuller understanding of how relationships to the past are represented in what have traditionally been seen as different ‘national’ cinemas is enabled by the hybridity and indeterminacy of the temporal gateway films, which don’t fit neatly into existing categories discussed and defined in memory studies. This thesis employs an interdisciplinary approach in order to draw out the features of the temporal gateway film, demonstrating how the central protagonist, the character whose life is in limbo, personifies the experience of living through the past in the present. This experience relates to the specifics of a post-trauma society but also to a wider encounter with disrupted temporality as a feature of contemporary life. I demonstrate how these films construct a new way of transmitting the experience of living with the past, through detailed analysis of approximately fourteen films from Europe, Latin America and the Middle East, including a detailed study of Lucrecia Martel’s work. This formal analysis is developed through the perspective of the historical, political and institutional to show how the films transcend a variety of existing definitions in films studies, to blur boundaries of categorisation. (shrink)