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Mean Girls? the Influence of Gender Portrayals in Teen Movies on Emerging Adults' Gender-Based Attitudes and Beliefs
MEAN GIRLS? THE INFLUENCE OF GENDER PORTRAYALS IN TEEN MOVIES ON EMERGING ADULTS' GENDER-BASED ATTITUDES AND BELIEFS By Elizabeth Behm-Morawitz and Dana E. Mastro This two-part exploratory study utilized a social cognitive theory frame- work in documenting gender portrayals in teen movies and investigating the influence of exposure to these images on gender-based beließ about friendships, social aggression, and roles of women in society. First, a con- tent analysis of gender portrayals in teen movies was conducted, reveal- ing that female characters are more likely to be portrayed as socially aggressive than male characters. Second, college students were surveyed about their teen movie-viewing habits, gender-related beliefs, and atti- tudes. Findings suggest that viewing teen movies is associated with neg- ative stereotypes about female friendships and gender roles. Research examining the effects of media exposure demonstrates that media consumption has a measurable influence on people's per- ceptions of the real world, and, regardless of the accuracy of these per- ceptions, they are used to help guide subsequent attitudes, judgments, and actions. For example, these results have been yielded for view- ing media representations of race,' the mentally ill,^ and the elderly.^ Past research additionally indicates that watching televised gender portrayals has an effect on individuals' real-world gender-based atti- tudes, beliefs, and behaviors."* Based on this research, and the tenets of social cognitive theory, it would be expected that consumption of teen movies would have an analogous influence on audience members' gen- der-based attitudes and beliefs. Despite the popularity of teen movies, the influence of such films on emerging adults has not been examined. -
Macquarie University Alex Munt New Directions in Music Video: Vincent Moon and the 'Ascetic Aesthetic'
Munt New directions in music video Macquarie University Alex Munt New Directions in Music Video: Vincent Moon and the ‘ascetic aesthetic’ Abstract: This article takes the form of a case study on the work of French filmmaker and music video director Vincent Moon, and his ‘Takeaway Shows’ at the video podcast site La Blogothèque. This discussion examines the state, and status, of music video as a dynamic mode of convergent screen media today. It is argued that the recent shift of music video online represents a revival of music video—its form and aesthetics— together with a rejuvenation of music video scholarship. The emergence of the ‘ascetic aesthetic’ is offered as a new paradigm for music video far removed from that of the postmodern MTV model. In this context, new music video production intersects with notions of immediacy, authenticity and globalised film practice. Here, convergent music video is enabled by the network of Web 2.0 and facilitated by the trend towards amateur content, participatory media and Creative Commons licensing. The pedagogical implications of teaching new music video within screen media arts curricula is highlighted as a trajectory of this research. Biographical note: Alex Munt is a filmmaker and screen theorist. He is a Lecturer in the Department of Media, Music, Communication and Cultural Studies at Macquarie University. He recently completed a PhD on ‘Microbudget Digital Cinema’ and has published on topics that include digital filmmaking, screenwriting, music video, fashion and design media in Australian and UK media, journals and magazines. Keywords: Aesthetics – Music – Video – Vincent Moon 1 Broderick & Leahy (eds) TEXT Special Issue, ASPERA: New Screens, New Producers, New Learning, April 2011 Munt New directions in music video The focus of this article is the work of French filmmaker and music video director Mathieu Saura, more commonly known by his alias ‘Vincent Moon’. -
Género E Performance — Textos Essenciais Vol. I
MARIA MANUEL BAPTISTA FERNANDA DE CASTRO (ORG.) Género e Performance T EXTOS ESSENCIAIS 3 TEXTOS DE: Ankica Čakardić Corey Johnson Derek Hall Donald E. Morton Erika Fischer-Lichte Fatima El-Tayeb Judith Butler Larissa Latif Lisa Lewis Luce Irigaray Maria Manuel Baptista Mark Devenney Nancy Fraser Rosi Braidotti Stephen Lewis Vivian Kinnaird MARIA MANUEL BAPTISTA FERNANDA DE CASTRO (ORG.) Género e Performance T EXTOS ESSENCIAIS 3 TEXTOS DE: Ankica Čakardić Corey Johnson Derek Hall Donald E. Morton Erika Fischer-Lichte Fatima El-Tayeb Judith Butler Larissa Latif Lisa Lewis Luce Irigaray Maria Manuel Baptista Mark Devenney Nancy Fraser Rosi Braidotti Stephen Lewis Vivian Kinnaird [Ficha Técnica] Inês Carvalho Jacinta Bola Título Joana Pereira Género e Performance Larissa Latif — Textos essenciais Vol. III Maria Manuel Baptista Marta Leitão Organização Simone Rechia Maria Manuel Baptista e Fernanda de Rita Himmel Castro Rodrigo de França Coordenação Editorial Capa Maria Manuel Baptista Grácio Editor Fernanda de Castro Larissa Latif Design gráfico e paginação Grácio Editor Conselho de Revisores Maria Manuel Baptista 1ª edição em outubro de 2020 Fernanda de Castro Larissa Latif ISBN: 978-989-54697-9-6 Alexandre Almeida Belmira Coutinho © Grácio Editor Marta Leitão Travessa da Vila União, Rita Himmel n.º 16, 7.o drt 3030-217 COIMBRA Revisores de Apoio Telef.: 239 084 370 Alcina Fernandes e-mail: [email protected] Alexandre Almeida sítio: www.ruigracio.com António Pernas Belmira Coutinho Reservados todos os direitos Bruno Neca Daniela Piva Esta obra foi financiada por fundos nacio- Fernanda de Castro nais, através da Fundação para a Ciência e Geanine Escobar a Tecnologia, I.P., no âmbito do projeto Helena Ferreira UIDB/04188/2020. -
Representations of Female Adolescence in the Teen Makeover Film
Representations of Female Adolescence in the Teen Makeover Film By Kendra Marston A Thesis Submitted to the Victoria University of Wellington in Fulfilment of the Requirements for a Degree of Master of Arts in Film Victoria University of Wellington 2010 Abstract This thesis proposes to analyse the representation of female adolescence in the contemporary teen makeover film. The study will situate this body of films within the context of the current postfeminist age, which I will argue has bred specific fears both of and for the female adolescent. This thesis will examine the construction of the initial wayward makeover protagonist, paying attention to why she needs to be trained in an idealised gender performance that has as its urgent goal the assurance of heteronormativity and ‘healthy’ sex role power relations. I will also analyse the representation of deviant adolescent female characters in terms of how their particular brand of postfeminist female masquerade masks a power and status-oriented agenda. The behaviour of these characters is shown to impact negatively on the peer group within the film, and is particularly dangerous as it threatens to negate the need for romance. 1 Contents Abstract 1 Acknowledgements 3 Introduction 4 Chapter One 23 Chapter Two 62 Chapter Three 86 Chapter Four 112 Conclusion 132 Bibliography 143 Filmography 153 Television Sources 155 Internet Sources 157 2 Acknowledgements I would like to acknowledge my supervisor Sean Redmond for the time he put in to helping me with this thesis, as well as for the encouragement, support and advice offered. 3 Introduction My Moment of Awakening in the Makeover Moment While watching The Princess Diaries (Garry Marshall, 2001) for the purpose of this research, I became fascinated by the particular tone of its makeover scene. -
Stan Hawkins, Settling the Pop Score: Pop Texts and Identity Politics
Reviews 81 interaction of drama in literary and musical terms. Lewsey’s aim here (as in his Who’s Who and What’s What in Wagner), is to assist the uninitiated, the regular audiences, directors and singers. This he does successfully. Stan Hawkins, Settling the Pop Score: Pop Texts and Identity Politics Aldershot, Hants.: Ashgate, 2002 ISBN 0 7546 0352 0; pb, 234pp, ill, music exx, bibl., discog., index Reviewed by Gavin Carfoot The scholarly study of popular music has its origins in sociology and cultural studies, disciplinary areas in which musical meaning is often attributed to aspects of economical and sociological function. Against this tradition, recent writers have offered what is now referred to as ‘popular musicology’: a method or approach that tends towards a specific engagement with ‘pop texts’ on aesthetic, and perhaps even ‘musical’ terms. Stan Hawkins uses the term popular musicology ‘at his own peril,’ clearly recognising the implicit scholarly danger in his approach, whereby ‘formalist questions of musical analysis’ are dealt with ‘alongside the more intertextual discursive theorisations of musical expression’ (p. xii). In other words, popular musicologists dare to tread that fine line between text and context. As editor of the journal Popular Musicology Online, Hawkins is a leading advocate of this practice, specifically in the application of music-analytical techniques to popular music. His methodology attests to the influence of other leading figures in the area, notably Richard Middleton, Allan F. Moore and Derek Scott (general editor of the Ashgate Popular and Folk Music Series in which this book is published). Settling the Pop Score is predominantly a collection of articles drawn from Hawkins’s previously published research, looking at popular figures that typify the 1980s MTV generation: Madonna, Morrissey, Annie Lennox, the Pet Shop Boys and Prince. -
The Representation of Suicide in the Cinema
The Representation of Suicide in the Cinema John Saddington Submitted for the degree of PhD University of York Department of Sociology September 2010 Abstract This study examines representations of suicide in film. Based upon original research cataloguing 350 films it considers the ways in which suicide is portrayed and considers this in relation to gender conventions and cinematic traditions. The thesis is split into two sections, one which considers wider themes relating to suicide and film and a second which considers a number of exemplary films. Part I discusses the wider literature associated with scholarly approaches to the study of both suicide and gender. This is followed by quantitative analysis of the representation of suicide in films, allowing important trends to be identified, especially in relation to gender, changes over time and the method of suicide. In Part II, themes identified within the literature review and the data are explored further in relation to detailed exemplary film analyses. Six films have been chosen: Le Feu Fol/et (1963), Leaving Las Vegas (1995), The Killers (1946 and 1964), The Hustler (1961) and The Virgin Suicides (1999). These films are considered in three chapters which exemplify different ways that suicide is constructed. Chapters 4 and 5 explore the two categories that I have developed to differentiate the reasons why film characters commit suicide. These are Melancholic Suicide, which focuses on a fundamentally "internal" and often iII understood motivation, for example depression or long term illness; and Occasioned Suicide, where there is an "external" motivation for which the narrative provides apparently intelligible explanations, for instance where a character is seen to be in danger or to be suffering from feelings of guilt. -
Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode. -
Media Culture: Cultural Studies, Identity and Politics Between The
Media Culture Media Culture develops methods and analyses of contemporary film, television, music, and other artifacts to discern their nature and effects. The book argues that media culture is now the dominant form of culture which socializes us and provides materials for identity in terms of both social reproduction and change. Through studies of Reagan and Rambo, horror films and youth films, rap music and African- American culture, Madonna, fashion, television news and entertainment, MTV, Beavis and Butt-Head, the Gulf War as cultural text, cyberpunk fiction and postmodern theory, Kellner provides a series of lively studies that both illuminate contemporary culture and provide methods of analysis and critique. Many people today talk about cultural studies, but Kellner actually does it, carrying through a unique mixture of theoretical analysis and concrete discussions of some of the most popular and influential forms of contemporary media culture. Criticizing social context, political struggle, and the system of cultural production, Kellner develops a multidimensional approach to cultural studies that broadens the field and opens it to a variety of disciplines. He also provides new approaches to the vexed question of the effects of culture and offers new perspectives for cultural studies. Anyone interested in the nature and effects of contemporary society and culture should read this book. Kellner argues that we are in a state of transition between the modern era and a new postmodern era and that media culture offers a privileged field of study and one that is vital if we are to grasp the full import of the changes currently shaking us. -
The Flick Written by Annie Baker X Directed by Bridget Kathleen O’Leary P L O R Dramaturgical Packet Compiled by E Amelia Dornbush 2
!1 e The Flick Written by Annie Baker x Directed by Bridget Kathleen O’Leary p l o r Dramaturgical Packet Compiled by e Amelia Dornbush !2 Table of Contents Dramaturg’s Note…………………………….……….……….………………………….……..3 About the Playwright………………..…….……………………………………………………..4 Biography……………………..….………………………………………………………..4 Baker’s reflections on The Flick…………….…………………………………………….4 Interview with the Creators………………………………………….…………..….….……5-10 Interview with the director……………………………………………..………….……5-7 Interview with the actor playing Avery……….…………………………………….…8-10 The Place: Worcester County…………………….………….………….……………….……..11 Minimum Wage in Summer of 2012……………….…….…………………………………….12 Mental Health and Sexuality…………………………………….………….….………….…..13 Depression………………………………………………………………………………..13 Autoeroticism…………………….……………………….…………….……….……….13 Six Degrees of Kevin Bacon………………………….…..…………………………………….14 35mm v. Digital………………………………………………………………….…….…….15-17 Glossary……………………………………………………………….…………….……….18-28 !3 Dramaturg’s Note The Flick is a beautifully constructed play that carefully contrasts the rousing emotions and nostalgia evoked by cinema with the world of our day to day lives. One of the ways in which Baker creates this contrast is through the repetition of sounds from François Truffaut’s 1962 French film Jules and Jim in The Flick. This repetition causes us to ask ourselves as audience members – why is this particular movie referred to so many times over the course of the play? One clue to this can be found by examining the similarities and differences between the two works. Both stories depict characters searching for happiness. Both follow two men and a woman as their lives intertwine. Both depict versions of love and betrayal. Still, there are differences. Truffaut’s lead characters, all white, magically seem to have enough money to support their lives in country cabins and Parisian apartments as writers. They both have a passionate sexual relationship with the same woman, and both relationships fail spectacularly in different ways. -
A Different Brilliance—The D & B Story
1. Yes, Madam (1985): Michelle Yeoh 2. Love Unto Wastes (1986): (left) Elaine Jin; (right) Tony Leung Chiu-wai 3. An Autumn’s Tale (1987): (left) Chow Yun-fat; (right) Cherie Chung 4. Where’s Officer Tuba? (1986): Sammo Hung 5. Hong Kong 1941 (1984): (from left) Alex Man, Cecilia Yip, Chow Yun-fat 6. It’s a Mad, Mad, Mad World (1987): (front row from left) Loletta Lee, Elsie Chan, Pauline Kwan, Lydia Sum, Bill Tung; (back row) John Chiang 7. The Return of Pom Pom (1984): (left) John Sham; (right) Richard Ng 8. Heart to Hearts (1988): (from left) Dodo Cheng, George Lam, Vivian Chow Pic. 1-8 © 2010 Fortune Star Media Limited All Rights Reserved Contents 4 Foreword Kwok Ching-ling, Wong Ha-pak 〈Chapter I〉 Production • Cinema Circuits 10 D & B’s Development: From Production Company to Theatrical Distribution Po Fung Circuit 19 Retrospective on the Big Three: Dickson Poon and the Rise-and-Fall Story of the Wong Ha-pak D & B Cinema Circuit 29 An Unconventional Filmmaker—John Sham Eric Tsang Siu-wang 36 My Days at D & B Shu Kei In-Depth Portraits 46 John Sham Diversification Strategies of a Resolute Producer 54 Stephen Shin Targeting the Middle-Class Audience Demographic 61 Linda Kuk An Administrative Producer Who Embodies Both Strength and Gentleness 67 Norman Chan A Production Controller Who Changes the Game 73 Terence Chang Bringing Hong Kong Films to the International Stage 78 Otto Leong Cinema Circuit Management: Flexibility Is the Way to Go 〈Chapter II〉 Creative Minds 86 D & B: The Creative Trajectory of a Trailblazer Thomas Shin 92 From -
5 Videodesign E a Linguagem Visual Pós-Moderna: As Vinhetas Da MTV
5 Videodesign e a linguagem visual pós-moderna: as vinhetas da MTV As vinhetas da MTV representam um dos principais elementos constitutivos da linguagem visual adotada pela emissora. Através destas peças gráficas audiovisuais, pode-se apreender grande parte da essência da MTV, que se remeteria diretamente a uma série de manifestações da cultura pós-moderna. Além disso, o videodesigner, principal responsável pela criação das vinhetas, dispõe de ferramentas de trabalho que o tornariam um profissional privilegiado em expressar parte dos elementos inerentes ao universo pós-moderno. Com o uso do sistema “copy-cut-mix-edit” dos softwares de edição e manipulação de imagens, o videodesigner produziria objetos gráficos repletos de influências da cultura pós-moderna, da qual a MTV participa. Como a atividade é relativamente nova, são usados ainda diferentes termos para se referir ao design voltado para o vídeo, como motion graphics ou videographics. Porém, nesta pesquisa o termo usado será videodesign, que representa um dos mais populares e utilizados, estando relacionado ao design direcionado ao vídeo para exibição na mídia eletrônica, e que não inclui o design produzido para cinema, que possui um termo específico denominado de moviedesign. Já o termo grafismo, que também é empregado durante a pesquisa, se refere aos elementos visuais que são criados para o conteúdo das vinhetas. Neste capítulo são abordadas as principais características referentes ao videodesign e discutido o ambiente de criação intrínseco a esta área de atuação, havendo uma rápida abordagem sobre as origens da vinheta televisiva no Brasil, quando ainda não passava de um cartão de papel estático filmado por uma câmera, e seu desenvolvimento ao longo da história até os dias atuais. -
Skate Life: Re-Imagining White Masculinity by Emily Chivers Yochim
/A7J;(?<; technologies of the imagination new media in everyday life Ellen Seiter and Mimi Ito, Series Editors This book series showcases the best ethnographic research today on engagement with digital and convergent media. Taking up in-depth portraits of different aspects of living and growing up in a media-saturated era, the series takes an innovative approach to the genre of the ethnographic monograph. Through detailed case studies, the books explore practices at the forefront of media change through vivid description analyzed in relation to social, cultural, and historical context. New media practice is embedded in the routines, rituals, and institutions—both public and domestic—of everyday life. The books portray both average and exceptional practices but all grounded in a descriptive frame that ren- ders even exotic practices understandable. Rather than taking media content or technol- ogy as determining, the books focus on the productive dimensions of everyday media practice, particularly of children and youth. The emphasis is on how specific communities make meanings in their engagement with convergent media in the context of everyday life, focusing on how media is a site of agency rather than passivity. This ethnographic approach means that the subject matter is accessible and engaging for a curious layperson, as well as providing rich empirical material for an interdisciplinary scholarly community examining new media. Ellen Seiter is Professor of Critical Studies and Stephen K. Nenno Chair in Television Studies, School of Cinematic Arts, University of Southern California. Her many publi- cations include The Internet Playground: Children’s Access, Entertainment, and Mis- Education; Television and New Media Audiences; and Sold Separately: Children and Parents in Consumer Culture.