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What Does Gender Mean in Regendered Characters
What Does Gender Mean in Regendered Characters Author Baker, Lucy Published 2017-12-31 Thesis Type Thesis (PhD Doctorate) School School of Hum, Lang & Soc Sc DOI https://doi.org/10.25904/1912/2211 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/380299 Griffith Research Online https://research-repository.griffith.edu.au WHAT DOES GENDER MEAN IN REGENDERED CHARACTERS Ms Lucy Irene Baker, BA (Hons), MAppSci(Lib&InfoMgmt) School of Humanities, Languages, and Social Science Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy 31 December 2017 21 Abstract This thesis examines the ways regendering, or ‘genderswapping’, is performed as an adaptational creative choice for fans and creators. Regendered works, such as the TV series Elementary, illustrate the complexity of representation, and the ongoing imbalanced landscape of media. I develop a more cohesive understanding of the fannish counterpublic and its complex approaches to creativity and gender by grounding the research and data collection in fan studies, gender studies, and literary theory. This thesis uses interviews, surveys, and observations of fannish communities, and close readings of regendered texts and media, to develop two theories of regendered effects. One: the position of regendered work within fannish counterpublics is one centred on the conflicts and tensions between lived experiences and the media landscape, performed through the creative forms that characterise their communities. Fannish experiences of gender and sexuality influence their reception of those works, and how they practice regendering as a creative process. Two: these works then reinforce that counterpublic by correcting the gender imbalance of the initial work, and re-othering the expectations of that work. -
Apocalypse As Religious and Secular Discourse in Battlestar Galactica
Volume 6 2014-15 APOCALYPSE & GHOSTS Apocalypse as Religious and Secular Discourse in Battlestar Galactica and its Prequel Caprica Diane Langlumé University of Paris VIII Saint-Denis Abstract he concept of the end of the world is inherent in religious discourse. Illustratively, in T Medieval Christianity, a divine power was held responsible for cataclysmic events. In the post-Hiroshima era, the concept of apocalypse has taken on secular meaning. Not surprisingly, given recent history, the apocalypse has become a prominent component of popular television epics; broadcast narratives, such as Battlestar Galactica and Caprica, entwine both Biblical and secular versions of the apocalypse, thereby creating a novel apocalyptic discourse which, instead of establishing the apocalypse as an end, uses it as a foundation, as a thought-provoking means of conveying a political message of tolerance and acceptance of otherness, of encouraging self-reflectiveness; and as a way of denouncing the empty rhetoric of religious extremism. Keywords: Television series, Battlestar Galactica, Caprica, religion, Book of Mormon, Bible, Book of Revelation, John of Patmos, Genesis, Adam, Garden of Eden, Heaven, God, fall of man, the beast, false prophet, angel, Second Coming, resuscitation, apocalypse, end of the world, nuclear apocalypse, Hiroshima, post-apocalyptic, genocide, intertextuality, parody, pastiche, religious satire, 9/11, America, religious terrorism, suicide bombing, cyborg, robot, humanity, monotheism, polytheism. he television series Battlestar Galactica1 establishes its chronology between a nuclear T apocalypse that has just taken place and the threat of a potential future apocalypse,2 both at the hands of human-looking cyborgs called Cylons. Caprica, its prequel series, set fifty- eight years before the nuclear detonation, unfolds the events leading up to the apocalypse in Battlestar Galactica. -
But, You're Just a Girl
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Spring 5-17-2013 But, You're Just A Girl Sasha McTee [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the English Language and Literature Commons Recommended Citation McTee, Sasha, "But, You're Just A Girl" (2013). University of New Orleans Theses and Dissertations. 1655. https://scholarworks.uno.edu/td/1655 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. “But, You’re Just A Girl:” The Female Hero in Modern Science Fiction and Fantasy A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in English by Sasha Rene McTee B.A. University of Colorado at Boulder, 2007 May, 2013 Table of Contents Abstract ............................................................................................................................. -
Zálohadiplomka Konečná Verze
Masarykova univerzita Filozofická fakulta Ústav filmu a audiovizuální kultury Kristýna Chmelíková (FAV, magisterské navazující prezen ční studium) Narativn ě komplexní seriál a jeho transmediální extenze Případová studie amerického seriálu Battlestar Galactica Magisterská diplomová práce Vedoucí práce : Mgr. Pavel Skopal, Ph.D. Brno 2011 Prohlášení o samostatnosti Prohlašuji, že jsem pracovala samostatn ě a použila jen uvedených zdroj ů. Datum Podpis 31. dubna 2011 ............................................................................. 1 Poděkování Za vedení diplomové práce a cenné p řipomínky d ěkuji Mgr. Pavlu Skopalovi, Ph.D. Za podn ětné konzultace tématu pat ří m ůj dík Mgr. Jaroslavu Švelchovi a Mgr. Radomíru D. Kokešovi. Děkuji též Martinu Chmelíkovi za pomoc p ři zpracování graf ů a Vendule Pavlí čkové za jazykové korektury. Pod ěkovat za srde čnou podporu, a to nejen v dob ě vzniku této práce, pak chci svým rodi čů m a Michalu Kašpárkovi. 2 Klíčová slova Narativn ě komplexní seriál, transmediální vypráv ění, transmediální extenze, konvergence médií, narativní analýza, produser, hyperdiegeze, Battlestar Galactica Keywords Narrative complexity of a TV series, transmedia storytelling, transmedia extension, media convergence, narrative analysis, produser, hyperdiegesis, Battlestar Galactica 3 Obsah 1. Úvod ................................................................................................................................................ 6 1.1 Ne p říb ěh, ale sv ět nebo ansámbl............................................................................................. -
Battlestar Galactica
Institutionen för studier av samhällsutveckling och kultur – ISAK LiU Norrköping Battlestar Galactica - Ett mänskligt universum Oscar Larsson Kandidatuppsats från programmet Kultur, samhälle, mediegestaltning 2008 Linköpings Universitet, Campus Norrköping, 601 74 Norrköping ISAK-Instutionen för studier av samhällsutveckling och kultur ISRN LIU-ISAK/KSM-G -- 09/02 -- SE Handledare: Michael Godhe Nyckelord: Battlestar Galactica, Battlestar, BG, Science Fiction, SF, Sci-Fi, Sci Fi, det mänskliga, människan, religion. Sammanfattning: Science Fiction har sedan sin uppkomst gestaltat samhället och de samhällsfrågor som för sin tid är aktuella. Alltifrån ifall människans existens är kroppslig eller andlig, till vad som händer när livsformer från andra planeter kommer till Jorden, har diskuteras i Science Fiction. I tv- serien Battlestar Galactica gestaltas och problematiseras vår samtid. Genom att flytta mänskligheten från Jorden och ut i rymden, där de konfronteras med en mängd etiska och moraliska frågor – tvingade att se över vad de själva är och vad de håller på att bli. Undersökningen avser att besvara frågor kring hur BG gestaltar människan och hennes förhållande till etik, moral, politik och religion. 1. INLEDNING 1 2. SYFTE & FRÅGSTÄLLNINGAR 2 3. DISPOSITION 3 4. TEORETISKA OCH METODOLOGISKA PERSPEKTIV 4 4.1 Forskningsfält 4 4.2 Representationsbegreppet 5 4.3 Kritiska ingångar 6 4.4 Metod och urval 8 5. DET MÄNSKLIGA 10 6. SCIENCE FICTION 14 7. ANALYTISK DEL 1: BATTLESTAR GALACTICA SOM ETT NARRATIVT UNIVERSUM 18 7.1 Mänskliga huvudkaraktärer 18 7.2 Cylonska huvudkaraktärer 20 7.3 Miniserien 22 7.4 Säsong 1 23 7.5 Säsong 2 23 7.6 Säsong 3 24 7.7 Battlestar Galactica: Razor 25 7.8 Säsong 4 25 7.9 Generell analys 26 8. -
In This Issue
Winter 2011 ~ Editors Ll. Doug Davis Gordon College 419 College Drive A publication of the Science Fiction Research Association Barnesville, GA 30204 [email protected] "' In this issue Jason Embry Georgia Gwinnett College SFRA Review Business 100 University Center Lane Lawrenceville, GA 30043 Continuity of Leadership in Interesting Times 2 [email protected] SFRA Business Managing Editor "Come Gather'Round People .. :' 2 Janice M. Bogstad Calling All Hands 3 University of Wisconsin, Eau Claire January 2011 Meeting Minutes 4 lOS Garfield Avenue State of the Finances 5 Eau Claire, W1 54702-50 l 0 SFRA 2011 Update 5 [email protected] Remembering Neil Barron 6 Nonfiction Editor Feature Michael Klein Genre Fiction in the (Pre)College Composition Classroom 7 James Madison University MSC 2103 Harrisonburg, VA22807 Nonfiction Reviews [email protected] The Animal Fable in Science Fiction and Fantasy 11 Fiction Editor Animal Alterity: Science Fiction and the Question of the Animal 11 Jim Davis Fiction Reviews Troy University Smith274 The Wesleyan Anthology of Science Fiction 12 Troy, AL 36082 The Strange Affair of Spring Heeled Jack 14 [email protected] The Dervish House 15 Cinco de Mayo 17 Media Editor The Fuller Memorandum 17 Ritch Calvin Media Reviews SUNY Stony Brook WOSIS Melville Library The Road 17 Stony Brook, NY 11794-3360 Inception 18 [email protected] Scott Pilgrim vs. the World 20 Battlestar Galactica: The Plan 21 The SFRA Review (ISSN 1068-395X) Caprica: Season 1 22 is published four times a year by the Paradox 24 Science Ficiton Research Associa FreakAngels 25 tion (SFRA), and distributed to SFRA Don't Look Back 27 members. -
HOWELL-THESIS.Pdf (710.3Kb)
Copyright by Charlotte Elizabeth Howell 2011 The Thesis Committee for Charlotte Elizabeth Howell Certifies that this is the approved version of the following thesis: Prophets in the Margins: Fantastic, Feminist Religion in Contemporary American Telefantasy APPROVED BY SUPERVISING COMMITTEE: Supervisor: Mary Celeste Kearney Michael Kackman Prophets in the Margins: Fantastic, Feminist Religion in Contemporary American Telefantasy by Charlotte Elizabeth Howell, B.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2011 Abstract Prophets in the Margins: Fantastic, Feminist Religion in Contemporary American Telefantasy Charlotte Elizabeth Howell, M.A. The University of Texas at Austin, 2011 Supervisor: Mary Celeste Kearney In this thesis, I will examine the connected representations of religion and gender in the context of contemporary American telefantasy (a term for science fiction, fantasy, and horror television genres) programs that include characters who experience fantastic visions that can be explained as originating from either divine or medically materialist origins. The fantastic mode, facilitated by telefantasy’s non-verisimilitudinous genre, presents these visions in a liminal space in which religious and gender representations can potentially subvert or challenge patriarchal and hegemonic representational norms. I analyze Battlestar Galactica (Sci-Fi 2003-2009), Eli Stone (ABC 2008-2009), and Wonderfalls (FOX 2004) for their formal presentation of visions, representations of visionary characters, and the religious representations that form the context for the visions and visionaries. I focus on visionary characters that are directly implicated by the television text as being potential prophets: Laura Roslin and Gaius Baltar on Battlestar Galactica, Eli Stone on Eli Stone, and Jaye Tyler on Wonderfalls. -
Battlestar Galactica: Season Three Checklist
Battlestar Galactica: Season Three Checklist Base Cards # Card Title [ ] 01 Title Card/Checklist [ ] 02 Title Card/Checklist [ ] 03 Title Card/Checklist [ ] 04 Occupation [ ] 05 Occupation [ ] 06 Occupation [ ] 07 Precipice [ ] 08 Precipice [ ] 09 Precipice [ ] 10 Exodus: Part 1 [ ] 11 Exodus: Part 1 [ ] 12 Exodus: Part 1 [ ] 13 Exodus: Part 2 [ ] 14 Exodus: Part 2 [ ] 15 Exodus: Part 2 [ ] 16 Collaborators [ ] 17 Collaborators [ ] 18 Collaborators [ ] 19 Torn [ ] 20 Torn [ ] 21 Torn [ ] 22 A Measure of Salvation [ ] 23 A Measure of Salvation [ ] 24 A Measure of Salvation [ ] 25 Hero [ ] 26 Hero [ ] 27 Hero [ ] 28 Unfinished Business [ ] 29 Unfinished Business [ ] 30 Unfinished Business [ ] 31 The Passage [ ] 32 The Passage [ ] 33 The Passage [ ] 34 The Eye of Jupiter [ ] 35 The Eye of Jupiter [ ] 36 The Eye of Jupiter [ ] 37 Rapture [ ] 38 Rapture [ ] 39 Rapture [ ] 40 Taking a Break from All Your Worries [ ] 41 Taking a Break from All Your Worries [ ] 42 Taking a Break from All Your Worries [ ] 43 The Woman King [ ] 44 The Woman King [ ] 45 The Woman King [ ] 46 A Day in the Life [ ] 47 A Day in the Life [ ] 48 A Day in the Life [ ] 49 Dirty Hands [ ] 50 Dirty Hands [ ] 51 Dirty Hands [ ] 52 Maelstrom [ ] 53 Maelstrom [ ] 54 Maelstrom [ ] 55 The Son Also Rises [ ] 56 The Son Also Rises [ ] 57 The Son Also Rises [ ] 58 Crossroads: Part 1 [ ] 59 Crossroads: Part 1 [ ] 60 Crossroads: Part 1 [ ] 61 Crossroads: Part 2 [ ] 62 Crossroads: Part 2 [ ] 63 Crossroads: Part 2 Significant Seven (1:8 Packs) # Card Title [ ] SS1 Brother Cavil [ ] -
Battlestar Galactica
Scope: An Online Journal of Film and Television Studies Issue 22 February 2012 Between Allegory and Seduction: Perceptual Modulation in Battlestar Galactica Enrica Picarelli, Leuphana University, Germany When Ronald Moore discussed the genesis of his remake of Battlestar Galactica (hereafter abbreviated to BSG), he acknowledged the radical impact of 9/11 on his creative vision. Bringing to the screen his competence as a political science major, Moore describes the show as a piece of informed docufiction about the war on terror (Moore, quoted in Bassom, 2005: 12). The show indeed offers a compelling conceptualization of the attacks that blurs the boundary between the spectacle of a fictional apocalypse and the reality of the war on terror, prompting scholarly examination to this day. This article investigates the relationship between BSG and the post-9/11 ecology of agitation in light of George Bush‟s strategy of collective perceptual management. While most readings focus on BSG as an allegory for the war on terror, I address the audiovisual strategies by which BSG appeals to the viewer‟s senses, mapping the emergence of a post-9/11 sensibility. In doing so, I argue that the show‟s relationship with post-9/11 reality rests in its power to address the audience‟s feelings. To this end, I look at BSG‟s aesthetics of crisis as operating as an affective vector, playing out in an informational system that provokes a bodily response in the audience through affective solicitation. As argued below, akin to the Bush administration‟s use of television as a form of perceptual modulation, BSG‟s relationship with the war on terror is rooted in an ability to express meaning and feeling, keeping a sensation of agitation alive throughout a four-season run. -
STORYLINES Tension the Key to Our Stories Is Successfully Maintaining
30, STORYLINES Tension The key to our stories is successfully maintaining the level of dramatic tension achieved in the pilot. Simply put, we should always feel as though the Galactica and her ragtag fleet are in a state of perpetual crisis. There is a constant threat to our people from w i t h i n and without the fleet which will never be resolved during the course of the series. Our heroes will be thrust into the roles of b o t h military protectors and law- enforcement officers, which allows us to literally play any story which could be ^olfiinnarFurrJarrenv^ fires, mysteries - all can come into play and all can provide us with j e o p a r d y from within the fleet i t s e l f . Structure {£ In order to maintain and sustain this tension, we will be emphasizing a continuing storyline which will literally continue the Cylon threat to the Colonials as established in the pilot. We will be using a modified continuing storyline most akin to that used on the classic TV series "Hill Street Blues." This format breaks down into three layers: 1. Series Arcs 2. Multi-Episodic Arcs 3. Stand Alone Ares The three tiered format avoids the pitfalls of Star Trek's episodic structure (which forces the writers to endlessly come up with new and wacky ways to put the Enterprise in j e o p a r d y each week) without turning our show into a true serial. 1. Series Ares will literally run the length of the series and will be embroidered on week to week. -
Gender Performance, Transgression and the Cyborg in Battlestar Galactica
ARTS & HUMANITIES Gender Performance, Transgression and the Cyborg in Battlestar Galactica Kati McGinnis Department of Women’s Studies Feminist scholarship has had a contentious relationship with sci- ence fiction. As a genre sometimes marked by the hyper-sexual- ized scantily clad female other, or sometimes the site of female erasure and censure, science fiction seemingly has little positive portrayals of women. Operating within a larger context of popu- lar culture, the genre of SF undoubtedly plays out oppression; it, however, can provide spaces for resistance. In this paper, I will argue that science fiction as a genre has seemingly limitless pos- sibilities for social commentary and gender re-identification. By using Donna Haraway’s “A Cyborg Manifesto” as well as feminist visual scholarship as a lens, I set out to demonstrate how Batte- star Galactica is able to navigate between gender transgression and technology’s impact on gender, highlighting the possibility for a new female spectator. Gender, Science Fiction and the Spectator Battlestar Galactica as a work of science fiction (SF), a site of what I term as super-fiction, has the potential to liberate its subject material. Whereas all other fiction places its narrative in realistic contexts making its characters subject to the rules of the hegemonic patriarchy, science fiction teeters on the edge of the unknown and hyper-reality, potentially liberating its characters from the weight of patriarchal representation. The genre of science fiction even has the possibility of occupying a space beyond fiction, with unrealistic settings like outer space and fantastic characters like cyborgs who are constructed and must therefore perform traditional notions of gender and/or transgress them. -
Battlestar Galactica: Season Two Checklist
Battlestar Galactica: Season Two Checklist Base Cards # Card Title [ ] 01 Title Card [ ] 02 Title Card [ ] 03 Title Card [ ] 04 Scattered [ ] 05 Scattered [ ] 06 Scattered [ ] 07 Valley of Darkness [ ] 08 Valley of Darkness [ ] 09 Valley of Darkness [ ] 10 Fragged [ ] 11 Fragged [ ] 12 Fragged [ ] 13 Resistance [ ] 14 Resistance [ ] 15 Resistance [ ] 16 The Farm [ ] 17 The Farm [ ] 18 The Farm [ ] 19 Home, Part 1 [ ] 20 Home, Part 1 [ ] 21 Home, Part 1 [ ] 22 Home, Part 2 [ ] 23 Home, Part 2 [ ] 24 Home, Part 2 [ ] 25 Final Cut [ ] 26 Final Cut [ ] 27 Final Cut [ ] 28 Flight of the Phoenix [ ] 29 Flight of the Phoenix [ ] 30 Flight of the Phoenix [ ] 31 Pegasus [ ] 32 Pegasus [ ] 33 Pegasus [ ] 34 Resurrection Ship, Part 1 [ ] 35 Resurrection Ship, Part 1 [ ] 36 Resurrection Ship, Part 1 [ ] 37 Resurrection Ship, Part 2 [ ] 38 Resurrection Ship, Part 2 [ ] 39 Resurrection Ship, Part 2 [ ] 40 Epiphanies [ ] 41 Epiphanies [ ] 42 Epiphanies [ ] 43 Black Market [ ] 44 Black Market [ ] 45 Black Market [ ] 46 Scar [ ] 47 Scar [ ] 48 Scar [ ] 49 Sacrifice [ ] 50 Sacrifice [ ] 51 Sacrifice [ ] 52 The Captain's Hand [ ] 53 The Captain's Hand [ ] 54 The Captain's Hand [ ] 55 Downloaded [ ] 56 Downloaded [ ] 57 Downloaded [ ] 58 Lay Down Your Burdens, Part 1 [ ] 59 Lay Down Your Burdens, Part 1 [ ] 60 Lay Down Your Burdens, Part 1 [ ] 61 Lay Down Your Burdens, Part 2 [ ] 62 Lay Down Your Burdens, Part 2 [ ] 63 Lay Down Your Burdens, Part 2 [ ] 64 New Caprica [ ] 65 New Caprica [ ] 66 New Caprica [ ] 67 New Caprica [ ] 68 New Caprica [ ] 69 New Caprica