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The Russian Woman As Sexual Subject

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The Russian Woman As Sexual Subject THE RUSSIAN WOMAN AS SEXUAL SUBJECT: EVOLVING IMAGES IN U.S. TELEVISION AND FILM, 2012-2016 by AUDREY JANE BLACK A THESIS Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2016 THESIS APPROVAL PAGE Student: Audrey Jane Black Title: The Russian Woman as Sexual Subject: Evolving Images in U.S. Television and Film, 2012-2016 This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Journalism and Communication by: Gretchen Soderlund Chairperson Chris Chávez Member Katya Hokanson Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2016 ii © 2016 Audrey Jane Black iii THESIS ABSTRACT Audrey Jane Black Master of Arts School of Journalism and Communication June 2016 Title: The Russian Woman as Sexual Subject: Evolving Images in U.S. Television and Film, 2012-2016 In American entertainment media Russian women overwhelmingly appear in sexualized contexts. For the past 25 years, since the Soviet Union was dissolved, there has been a consistent drive to represent on only a handful of narrative categories. These can be reduced essentially to sex trafficking, mail-order brides, and sexual espionage. Despite this limited repertoire, over the past five years there has been significant variation in approaches taken to those categories. This study offers a surveyed textual analysis of how the construction of the Russian woman as sexual subject has evolved to meet new understandings and imperatives. Many of these texts take on challenging topics with unprecedented levels of discursive and rhetorical sophistication, often subverting popular imagination. Driven by feminist media studies and critical cultural theory, I isolate the elements of these texts that interact with geopolitics and socioeconomic realities, in order to deconstruct the mythologies and ideologies behind these stereotypes. iv CURRICULUM VITAE NAME OF AUTHOR: Audrey Jane Black GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene DEGREES AWARDED: Master of Arts, Media Studies, 2016, University of Oregon Bachelor of Arts, Journalism, 2014, University of Oregon AREAS OF SPECIAL INTEREST: Queer Theory Feminist Media Studies Russia and East Europe PROFESSIONAL EXPERIENCE: Teaching/Research assistant, School of Journalism and Communication, University of Oregon, Eugene, 2014-2016 Freelance journalist, Self-employed, Eugene, Oregon, 2011-2015 Intelligence analyst, U.S. Army, Hinesville, Georgia, 2003-2009 GRANTS, AWARDS, AND HONORS: Graduate Teaching Fellowship, Media Studies, University of Oregon, 2014 to present Cum Laude, Bachelor of Arts, University of Oregon, 2014 Benjamin A. Gilman International Scholarship, Institute of International Education, University of Oregon, 2012 Kappa Tau Alpha, School of Journalism and Communication, University of Oregon, 2012 v PUBLICATIONS: Black, Audrey Jane. “High Fashion and Projection of Transgender Bodies: Queer Strategy in The Barneys New York Spring 2014 Campaign”. Journal of Advertising. Proceedings, American Academy of Advertising 2016 Annual Conference. In Press. vi ACKNOWLEDGMENTS I wish to express sincere appreciation to Professors Gretchen Soderlund, Katya Hokanson, and Chris Chávez for their assistance in the preparation of this manuscript. In addition, special thanks are due to Professors Carlnita Greene and Janet Wasko, whose mentorship inspired my initial interest in some of the core concepts of the study. Finally, I thank select members of my cohort, Sarah Hamid, Jenny Tatone, and J.D. Swerzenski, for their valuable feedback during early development. vii TABLE OF CONTENTS Chapter Page I. INTRODUCTION .................................................................................................... 1 II. THEORETICAL FOUNDATIONS ........................................................................ 2 Stereotypes and Subject Construction ................................................................... 2 The Power of Messages ......................................................................................... 3 Gender and Ethnicity ............................................................................................. 4 Evolving Views ...................................................................................................... 6 III. METHODOLOGY ................................................................................................ 8 Sampling ................................................................................................................ 8 Evaluation .............................................................................................................. 11 IV. SEX TRAFFICKING ............................................................................................ 14 Background ............................................................................................................ 14 Prostitution as Slavery ..................................................................................... 14 The Natasha Trade ........................................................................................... 16 Economic Violence .......................................................................................... 17 Imagining Miseducation .................................................................................. 18 Myths about Trafficking .................................................................................. 19 Condemning the Victim .................................................................................. 21 Textual Analysis .................................................................................................... 22 Shameless ......................................................................................................... 22 Hitman.............................................................................................................. 30 The Equalizer ................................................................................................... 32 The Transporter Refueled ................................................................................ 35 True Detective .................................................................................................. 37 V. MAIL-ORDER BRIDES ........................................................................................ 42 Background ............................................................................................................ 42 Virtual Spaces .................................................................................................. 42 viii Regulating Marriage ........................................................................................ 43 Concerns over Authenticity ............................................................................. 44 Market Approaches and User Aspects ............................................................. 45 Cultural Baggage ............................................................................................. 47 Textual Analysis .................................................................................................... 48 Orange Is The New Black ................................................................................ 48 Law and Order: Special Victims Unit .............................................................. 50 St. Vincent........................................................................................................ 55 VI. SEXUAL ESPIONAGE ........................................................................................ 59 Background ............................................................................................................ 59 Preconditions.................................................................................................... 59 The Cold War ................................................................................................... 60 Post-Soviet Era................................................................................................. 62 Textual Analysis .................................................................................................... 64 The Americans ................................................................................................. 64 Elizabeth .................................................................................................. 64 Nina .................................................................................................. 67 Paige .................................................................................................. 71 The Avengers Franchise .................................................................................. 73 Iron Man 2.................................................................................................. 74 Marvel’s The Avengers.............................................................................. 76 Captain America: The Winter Soldier ....................................................... 77 The Avengers: Age of Ultron .................................................................... 77 A Good Day to Die Hard ................................................................................. 79 Red Sparrow....................................................................................................
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