Proquest Dissertations

Total Page:16

File Type:pdf, Size:1020Kb

Proquest Dissertations POST-SECONDARY WOMEN'S POSITIVE EXPERIENCES WITH PORNOGRAPHY: A GROUNDED THEORY EXPLANATION OF INITIAL EXPOSURE AND SUBSEQUENT USE OF SEXUALLY EXPLICIT MATERIALS IORDANKA PETZANOVA Bachelor of Arts, University of British Columbia, 2004 A Thesis Submitted to the School of Graduate Studies of the University of Lethbridge in Partial Fulfillment of the Requirements for the Degree of MASTER OF EDUCATION FACULTY OF EDUCATION LETHBRIDGE, ALBERTA February 2010 Library and Archives Bibliothèque et ?F? Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-68794-9 Our file Notre référence ISBN: 978-0-494-68794-9 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformément à la loi canadienne sur la Privacy Act some supporting forms protection de la vie privée, quelques may have been removed from this formulaires secondaires ont été enlevés de thesis. cette thèse. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. ¦?I Canada Abstract The intent ofthis research thesis is the examination of post-secondary women's positive experiences with pornography. Very little research has been conducted with women who enjoy pornography and yet recent statistics in Canada and the United States show that there is an increasing amount of female users of pornography (Cantor, Mares, & Hyde, 2003). This study presents an emerging grounded theory ofthe process through which a small group ofpost-secondary women come to label their experiences with pornography as positive. The study traces the experiences of four post-secondary women in Western Canada from their initial exposure to pornography to their current use of the material. Results showed the importance ofpersonal control in the development of female sexual identity and the enjoyment ofpornography. This study is embedded in a social constructionist theoretical framework and offers recommendations for further research in the area. iii Acknowledgements I would like to thank my supervisor Noella Piquette-Tomei for her unending support and guidance from the beginning to the completion of this thesis. She taught me invaluable information and skills about all aspects ofthe research process. I would also like to thank my parents, Elena and Kostadin Petzanovi. They gave me constant support, encouragement, and love. iv Table of Contents Abstract "i Acknowledgements iv Table of Contents ? List of Tables ix List of Figures x CHAPTERIrINTRODUCTION 1 Clarification Between Pornography and Sexually Explicit Materials 1 Diverging Views on Pornography 2 Pornography as a Male Dominated Arena 3 Women's Use of Pornography 6 Focus of Thesis 7 Conclusion 9 CHAPTER 2: LITERATURE REVIEW 10 Personal Assumptions and Biases 11 Defining Pornography 14 Pornography Outside ofNorth America 17 Greater Acceptance of Pornography 17 Censorship 18 Deviant Pornographic Material 20 Pornography as an Expression of Rebellion 20 Spiritual Views of Pornography 21 Men and Pornography 23 ? Men' s Use of Pornography 23 Impact of Pornography on Men 27 Limitations to Correlational Laboratory Studies 28 Women and Pornography 31 Women and Romance Novels 33 Biological Arguments Related to Pornography 35 Social Construction of Sexuality 40 Sexual Scripts and Gender Schematas: Different Sexualities for Boys and Girls 44 The Female Sexual Desire in North America 48 Benefits of Pornography for Women 53 Summary 60 CHAPTER 3: RESEARCH METHOD 63 Grounded Theory 64 Constant Comparative Method 67 Coding 69 Grounded Theory Methodology Applied in Practice 71 Participants 71 Recruitment 71 Selection Process 72 Instruments/Materials 75 Interview Procedure 76 Pre-Interview Contact 76 Vl The First Interview 77 Risks 77 Confidentiality 78 Follow-up Interview 79 Data Analysis 79 Development of Categories 79 Theoretical Sensitivity and Major Preconceptions 81 Reflexivity 83 Reliability and Validity 86 Summary 87 CHAPTER 4: RESULTS 88 Evidence ofthe Emergent Grounded Theory 88 Category I: Development of Identity as a Sexual Being 91 Liberal Background 91 First Exposure 95 Pornography as Education 99 Variations in Pornography Use 101 Progression ofUse 1 06 Category II: Struggling with Double Standards and Duality 108 Double Standards for Women 108 Distinguishing Between Real Sex and Sex Depicted in Pornography. ...112 Internal Contradictions with Pornography (fantasy vs reality) 113 Category III: The Forbidden Fruit 116 vii Pornography as Private and Hidden 116 Accessibility 1 20 Core Category: Control 122 Feedback from Follow-up Interviews 128 Summary ofthe Emergent Grounded Theory 131 CHAPTER 5: DISCUSSION 133 Limitations and Suggested Future Research 142 CHAPTER 6: REFLECTIVE SUMMARY OF RESULTS AND LIMITATIONS 146 Limitations in Validity 146 Assumptions in the Design ofthe Study 149 Reflective Analysis of Methodological Decisions and Limitations to Results... 152 References 157 Appendices 1 74 A: Recruitment Poster 1 74 B : Pre-Screening Questionnaire 175 C : Interview Questions 1 76 D: Participant Consent Form 1 77 viii List of Tables Table !.Participant Demographics 75 ix List of Figures Figure 1. Post-Secondary Women's Positive Experiences with Pornography: The Emergent Grounded Theory 89 ? 1 CHAPTER 1: INTRODUCTION Pornographic materials such as pictures and magazines have been a part of human culture for a very long time (Zilbergeld, 1992). Even in the sexually oppressive Victorian era, spanning from 1837 to 1901, pornographic material was quite popular (Kimmel & Plante, 2004). The prevalence and impact of pornography cannot be denied whether one supports or opposes it, whether one wants it strictly censored or left unrestricted. The sheer popularity and widespread use ofpornography can be illustrated by the enormous profits brought in by pornographic materials. It is a multi-billion dollar industry that is growing tremendously from year to year (Stack, Wasserman, & Kern, 2004). North Americans are spending more than $8 billion dollars annually on adult cable programming, hard-core videos, computer pornography, and sex magazines (Stack et al.). The amount spent on these adult materials surpasses the annual profits from all movie box office receipts in the United States (Thio, 2001). With the popularity ofthe internet, adult oriented websites are responsible for the greatest on-line commerce and profit worldwide (Thio). Search engine queries for sexually explicit material outnumber any other topics by a landslide (Parker & Wampler, 2003). Clearly, people are spending a great deal of money on adult entertainment and due to this popularity, pornography is an area ofresearch that is both interesting and important. Clarification Between Pornography and Sexually Explicit Materials For the purpose of this study, the definition ofpornography and sexually explicit materials will be explained. Sexually explicit materials are videos, photographs, and writings that present sexual content without deliberately obscuring or hiding it (Ciclitira, 2002). Pornography is the visual or literal depiction and/or description of bodily features 2 and acts aimed at arousing the viewer or reader (Ciclitira). The formal distinction between the two terms is the intent of the material. The purpose and intent of pornography is to arouse, where as sexually explicit materials can portray sexual acts without necessarily the intent of arousing the viewer. For example, an instructional video on safe sex practices portraying genitalia can be labeled as sexually explicit but not pornographic since its intent is to educate and not arouse (Juffer, 1998). In this study, the focus of research was pornography since participants were asked to reflect on their experiences with materials whose purpose was arousal. When the term sexually explicit materials is used in this research document, it should be noted that the text refers to pornographic sexually explicit materials meaning materials that have been produced generally for the purpose of arousal. Therefore, in this thesis the terms pornography and sexually explicit materials are used interchangeably and refer to the same concept. Diverging Views on Pornography The issue ofpornography is not a simple
Recommended publications
  • Film, Philosophy Andreligion
    FILM, PHILOSOPHY AND RELIGION Edited by William H. U. Anderson Concordia University of Edmonton Alberta, Canada Series in Philosophy of Religion Copyright © 2022 by the authors. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, Suite 1200, C/Sancti Espiritu 17, Wilmington, Delaware 19801 Malaga, 29006 United States Spain Series in Philosophy of Religion Library of Congress Control Number: 2021942573 ISBN: 978-1-64889-292-9 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Cover design by Vernon Press. Cover image: "Rendered cinema fimstrip", iStock.com/gl0ck To all the students who have educated me throughout the years and are a constant source of inspiration. It’s like a splinter in your mind. ~ The Matrix Table of contents List of Contributors xi Acknowledgements xv Introduction xvii William H.
    [Show full text]
  • “It's Not Pornography, It Is Art.”
    RECEIVE CFTF PDF FREE March 2018 Sign up at www.cftfpaper.com Volume XLIX, Number 3 When the current issue is available you will be notified FOR THOSE WHO LOVE THE TRUTH AND HATE ERROR “IT’S NOT PORNOGRAPHY, IT IS ART.” he title of this article is a quote from Mrs. Barbara England, head of the art department at Freed-Hardeman Uni- Tversity (FHU). It was made about two years ago in response to FHU student Christina Sword’s comments to Mrs. England concerning what she had heard was a part of the requirements for students taking the Art II class, specifically that the students were expected to draw semi-nude pictures. Mrs. England confirmed what Christina reported and she asked Christiana if she had a problem with the requirement. Miss Sword responded to Mrs. England with, “I told her it was por- nography and that I couldn’t take that class.” Mrs. England responded with the quotation preceding these remarks—“It’s not pornography, it is art.” On February 2, 2018 in chapel, FHU President David Shannon made Mrs. England’s said statement the official position of FHU regarding nudity and semi-nudity when viewing, drawing, and painting pictures of semi-nude and nude human bodies. President Shannon said, “Faculty, staff, and administration have again concluded that these studies of the human form are necessary and appropriate in a large number of academic disciplines, programs and courses at this university, including the art program. It is crucial for an art graduate, from a liberal arts university, to be able to draw a hu- man, and therefore understand the body.” he following is Christina Sword’s report concerning what transpired regarding her meeting with Mrs.
    [Show full text]
  • Performance Anxiety: Medusa, Sex and the First Amendment
    Performance Anxiety: Medusa, Sex and the First Amendment Amy Adler* Neither death nor woman's sex can be faced directly. -SARA KOFMAN, THE ENIGMA OF WOMAN1 What if the 'object' started to speak? 2 -LUCE IRIGARAY, SPECULUM OF THE OTHER WOMAN INTRODUCTION In this Article, I attempt to solve a First Amendment puzzle by turning to a surprising source. Here is the puzzle: why would the Supreme Court offer robust First Amendment protection to non-obscene pornographic film, while relegating live erotic dance, far less sexually explicit, to the very "perimeter" of First Amendment protection? * Professor of Law, NYU School of Law. I am grateful to Kerry Abrams, Ed Baker, Rachel Barkow, Anne Dailey, Gretchen Feltes, David Garland, Alexander Glage, Ariela Gross, Philip Hamburger, Katherine Franke, Suzanne Goldberg, Abner Greene, Bruce Hay, Andy Koppelman, Rick Pildes, Lenn Robbins, Hilary Schor, Richard Sherwin, and Nomi Stolzenberg for helpful conversations about this piece, comments on earlier drafts, or both. I am also grateful to the participants in the Colloquium at the USC Center for Law, History, and Culture and the Columbia Law School Colloquium on Gender and Sexuality, where I presented earlier drafts of this Article. I also thank the audience at the Law and Society panel on Law and Psychoanalysis, where I gave a talk that became the basis for this Article. Special thanks are due to my fellow panelists, Anne Dailey, Ravit Reichman and Nomi Stolzenberg for their work and their insights. Nicole Field provided truly outstanding research assistance. Thanks also to Eva Gardner, who pitched in at the last minute with excellent research.
    [Show full text]
  • A QUALITATIVE TEXTUAL and COMPARATIVE ANALYSIS of the REPRESENTATION of MASCULINITY in the ACTION and ROMANTIC COMEDY GENRES By
    A QUALITATIVE TEXTUAL AND COMPARATIVE ANALYSIS OF THE REPRESENTATION OF MASCULINITY IN THE ACTION AND ROMANTIC COMEDY GENRES by GERALD JAMES PASCOE submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject of COMMUNICATION at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: DR JULIE REID CO-SUPERVISOR: MR CHRISTO CILLIERS June 2012 Student number: 46293442 I declare that A QUALITATIVE TEXTUAL AND COMPARATIVE ANALYSIS OF THE REPRESENTATION OF MASCULINITY IN THE ACTION AND ROMANTIC COMEDY GENRES is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. 15 June 2012 GJ Pascoe Date SUMMARY Title: A QUALITATIVE TEXTUAL AND COMPARATIVE ANALYSIS OF THE REPRESENTATION OF MASCULINITY IN THE ACTION AND ROMANTIC COMEDY GENRES By: GJ Pascoe Degree: Master of Arts Subject: Communication Science Supervisor: Dr J Reid Co-supervisor: Mr C Cilliers Summary: This study is an exploration of the representation of masculinity in film, with particular focus on the way in which the leading male characters in a purposive sample of action genre and romantic comedy genre films represent masculinity. It is posited that masculinity is a construct, the meaning of which is dependent on the social context of the individual. Film being a social artefact could then possibly influence individuals understanding of the construct. Therefore an exploration of the kind of masculinity, the variations thereof across genres, and masculine characteristics of masculinity prevalent in each genre, is a first step in understanding possible influences of the definition of masculinity.
    [Show full text]
  • Nudity Survival Guide
    INDEXINDEX INTRODUCTiON - FADE IN... p. 1 SHOULD I DO NUDiTY? p. 3 THE SKiNNY ON GETTING NAKeD FOR AUDiTIONS... p. 4 THE BARE FACTS ABOUT CONTRACTS & NUDiTY RIDeRS... p. 6 REGULATiONS ON REHeARSALS IN THE RAW & ON SET PeRFORMANCES AU NATUReL... p. 9 HOW TO HANDLE YOURSeLF WHEN THE ONLY THiNG BeTWEEN YOU AND THE CReW IS A SMILE... p. 11 WHeN IT'S A CASE OF SEXUAL HARASSMENT... p.13 WHAT HAPPeNS WHEN VIOLATiONS OCCUR... p.14 ACKNOWLeDGMENTS - THE GUiLTY PARTIES... p. 15 ACTRA Montreal 1450 City Councillors, Suite 530 Montreal, Quebec H3A 2E6 teL: 514.844.3318 . fax: 514.844.2068 email: [email protected] www.actramontreal.ca Introduction FADE IN: INT. FILM SET - NIGHT John, a meagre towel wrapped around his waist, folds and unfolds his arms while shifting his weight from one foot to the other in a desperate attempt to appear cava- lier. He is failing miserably. Jane sits on a bed, naked save for the sheet she is clutching tightly to her chin. Shivering under the hot, harsh lights, they both look like they are fighting the urge to make a mad dash back to the safety of their trail- ers. JANE So...ah...um...guess this is it... (clutching the sheet even tighter) You know...I thought I'd be nervous, but I'm not...really...(gulp)...I'm fine with this....you? John looks around at the dozens of crew people milling about what was supposed to be a closed set. JOHN Oh geeze... (wiping at a drop of sweat) Maybe I should have thought this thing through..
    [Show full text]
  • Performing the Erotic
    Performing the erotic: (Re)presenting the body in popular culture by Dionne van Reenen Submitted in fulfilment of the requirements in respect of the doctoral degree qualification Doctor of Philosophy with specialisation in English in the Department of English Faculty of Humanities at the University of the Free State Bloemfontein Submission date: 28 June 2019 Supervisor: Prof. S.A. Tate, Canada Research Chair Tier 1 in Feminism and Intersectionality, University of Alberta, Canada. Co-supervisors: Prof. H.J. Strauss, Chair: English Department, University of the Free State, South Africa; and Dr M.M. Mwaniki, Visiting Associate, University of the Witwatersrand, South Africa. I, Dionne van Reenen, declare that the research dissertation that I herewith submit for the doctoral degree qualification Doctor of Philosophy with specialisation in English (ENGD9100) at the University of the Free State is my independent work, and that I have not previously submitted it for a qualification at another institution of higher education. Signed: __________________ Date: 19 June 2019 iii Abstract In 1995, Mitchell suggested that spheres of public culture, and the academies that study them, are in the midst of a ‘pictorial turn’ which entails thinking about images in digital communication and mass multimedia as forms of life. In the study reported in this thesis, a critical semiotic analysis of mainstream, moving images that are designed, performed, mediated, and repeatable was conducted. The study focuses on the role of social constructs of gender, race, and class (along with size, age, and ability) in the ordering processes of society which are, in turn, sustained and reproduced by the (re)presentation of eroticised bodies in visual media in the twenty- first century.
    [Show full text]
  • El Vampiro Y El Sexo/The Vampire and Sex (René Cardona 1969): El Santo, Sexploitation Films and Politics in Mexico 1968
    El vampiro y el sexo/The Vampire and Sex (René Cardona 1969): El Santo, sexploitation films and politics in Mexico 1968 Article (Accepted Version) Tierney, Dolores (2019) El vampiro y el sexo/The Vampire and Sex (René Cardona 1969): El Santo, sexploitation films and politics in Mexico 1968. Porn Studies, 6 (4). pp. 411-427. ISSN 2326-8743 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/83845/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk
    [Show full text]
  • Nova Law Review
    Nova Law Review Volume 15, Issue 1 1991 Article 9 Obscenity, Music and the First Amendment: Was the Crew 2 Lively? Emily Campbell∗ ∗ Copyright c 1991 by the authors. Nova Law Review is produced by The Berkeley Electronic Press (bepress). https://nsuworks.nova.edu/nlr Obscenity, Music and the First Amendment: Was the Crew 2 Lively? Emily Campbell Abstract For many years, courts all over the United States have told us what kind of movies we can watch,4 what kind of books we can read and what kind of photographs we can view.6 Now, one court in Florida has told its citizenry that there are certain kinds of music that should not be heard. KEYWORDS: music, obscenity, amendment Campbell: Obscenity, Music and the First Amendment: Was the Crew 2 Lively? Obscenity, Music and the First Amendment: Was the Crew 2 Lively? Emily Campbell* I. INTRODUCTION .................................... 160 II. OBSCENITY AND THE FIRST AMENDMENT .......... 171 III. THE CASE OF 2 LIvE CREW ......................... 177 A. Facts .................................... 177 B. Applying the Miller Test ................... 182 1. Prong 1 of the Miller Test ............. 182 a. The Relevant Community and Its Standards ...................... 183 b. Appealing to the Prurient Interest . 186 2. Prong 2 of the Miller Test ............. 189 3. Prong 3 of the Miller Test ............. 190 C. What's Wrong with the Result? Everything... 192 1. Community Standards ................ 192 2. Prurient Interest and Patent Offensiveness 197 3. Serious Value ........................ 211 IV. THE BASIS FOR REGULATION OF SPEECH DEALING WITH SEXUALITY .................................. 215 A. The Falsity of Music and Obscenity as Purely Emotive Speech ........................... 216 1. M usic .............................
    [Show full text]
  • A Midsummer Night's Dream
    PROJECT DISCOVERY STUDY GUIDE by William Shakespeare • Directed by Tyler Dobrowsky Support for Trinity Rep’s education programs comes SPONSORED BY: from: Rhode Island State Council on the Arts and General Assembly of Rhode Island; The Norman and Rosalie Fain Family Foundation; Shakespeare in American Communities, a program of the National PART OF SHAKESPEARE IN Endowment for the Arts in partnership with Arts AMERICAN COMMUNITIES Midwest; The Yawkey Foundations; Hasbro Children’s A PROGRAM OF THE NATIONAL ENDOWMENT Fund; McAdams Charitable Foundation; Otto H. York FOR THE ARTS AND ARTS MIDWEST Foundation; Textron Inc.; Billy Andrade and Brad : Faxon Charities for Children; National Grid; Phyllis Kimball Johnstone & H. Earl Kimball Foundation; Mary S E A S O N S P O N S O R E D B Y : Dexter Chafee Fund; Southwest Airlines; Victoria Irene Ball Fund for Arts Education; Pell Fund for Education; OFFICIAL AIRLINE OF TRINITY REP: Many Individual Donors; and gifts to Trinity Rep’s Annual Fund. Prepared by Trinity Rep’s Education Department, Maggie Seymour, and Camille Shea 201 WASHINGTON STREET • PROVIDENCE, RHODE ISLAND 02903 Table of ConTENTS Theater Audience Etiquette 3 Using this Study Guide in Your Classroom 4 Unit One: Shakespeare William Shakespeare 5 Elizabethan Royalty & Society 6 Lord Chamberlain’s Men 8 The Globe Theatre 9 Did You Know? 13 Unit Two: A Midsummer Night’s Dream Interview with the Director: Tyler Dobrowsky 14 Character List 16 Synopsis 17 Themes 19 Interrogation of Borders 20 Directorial Note on High School 21 The Setting: The 80s 22 Unit Three: Delving Into the Text I’m Not Bad, I’m Just Drawn That Way 23 Letters in Character 23 Playing with Status 24 Tableaux 25 Make it Modern 25 Baby if You Love Me 26 Yes...Yes...No..
    [Show full text]
  • Narrative Structure, Desire, and Intertextuality in Abdellatif Kechiche's Blue Is the Warmest Color Kathryn Chaffee
    University of New Mexico UNM Digital Repository Foreign Languages & Literatures ETDs Electronic Theses and Dissertations 6-26-2015 Blue Desire: Narrative Structure, Desire, and Intertextuality in Abdellatif Kechiche's Blue Is the Warmest Color Kathryn Chaffee Follow this and additional works at: https://digitalrepository.unm.edu/fll_etds Recommended Citation Chaffee, Kathryn. "Blue Desire: Narrative Structure, Desire, and Intertextuality in Abdellatif Kechiche's Blue Is the Warmest Color." (2015). https://digitalrepository.unm.edu/fll_etds/7 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Foreign Languages & Literatures ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Kathryn Chaffee Candidate Foreign Languages and Literatures Department This thesis is approved, and it is acceptable in quality and form for publication: Approved by the Thesis Committee: Walter Putnam, Chairperson Pamela Cheek Katrin Schröter i BLUE DESIRE: NARRATIVE STRUCTURE, GAZE AND INTERTEXTUALITY IN ABDELLATIF KECHICHE’S BLUE IS THE WARMEST COLOR by KATHRYN CHAFFEE B.A., FRENCH STUDIES, WAGNER COLLEGE, 2010 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts French The University of New Mexico Albuquerque, New Mexico May 2015 ii DEDICATION To Genna Parce que c’était lui, parce que c’était moi. - Montaigne iii ACKNOWLEDGEMENTS I would like to acknowledge Walter Putman, my advisor and thesis chair, who foresees problems with my work well in advance but gives me the time and freedom to work through problems on my own terms.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles United
    UNIVERSITY OF CALIFORNIA Los Angeles United States-Based Latina Producers of Feature Films (1976-Present): The Role of Community, Creativity, and Currency in Synergistic Authorship A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Television by Mirasol Aurelia Riojas 2012 ©copyright by Mirasol Aurelia Riojas 2012 ABSTRACT OF THE DISSERTATION United States-Based Latina Producers of Feature Films (1976-Present): The Role of Community, Creativity, and Currency in Synergistic Authorship by Mirasol Aurelia Riojas Doctor of Philosophy in Film and Television University of California, Los Angeles, 2012 Professor Chon A. Noriega, Chair Latinas’ marginalization within the film industry has been reproduced in the writing of film history as a result of many factors, including (but not limited to) male-centered notions of history and dominant models of authorship that center the director as the principle creative force behind the filmmaking process. Motivated by a commitment to securing Latina filmmakers’ place in film history, this study of U.S.-based Latina producers of Latina/o-themed feature films proposes a “synergistic” model of authorship that makes visible creative contributions of authors who do not occupy designated roles such as “director” or (less so) “writer,” traditionally associated with authorship. Instead, it acknowledges the way numerous creative, institutional, historical, sociological, and economic forces come together to shape a film. ii This dissertation involves
    [Show full text]
  • Magazine Forbargaining
    ACTRAmagazine WINTER 2012 Gearingup forBargaining Performers in the driver’s seat ACTRA Inside magazine your union f r Winter 2012 • Vol. 19, Issue 1 o m ACTRA magazine is the official publication of ACTRA T (Alliance of Canadian Cinema, Television and Radio magazine H Artists), a Canadian union of performers affiliated to 20 E A the Canadian Labour Congress (CLC) and the L InternationalFederationofActors(FIA).ACTRAmagazine L is free of charge to all ACTRA members. I A N EDITORIAL ADVISORY C COMMITTEE: E Joanne Deer, Ferne Downey, Carol Taverner, O Theresa Tova, Stephen Waddell, F Jeremy Webb, Christine Willes C A N CONTRIBUTORS: A Tina Alford, DJ Anderson, Mike Burns, D Mark D. Claxton, Chris Cornish, Ferne Downey, I Ted Dykstra, Chris Faulkner, Sarah Gadon, A Cary Lawrence, Jessica Paes, Billy Parrott, N Gary Saxe, Marit Stiles, Michelle Thrush, C Theresa Tova, Stephen Waddell, Tony Walsh, I 4 22 N Jeremy Webb, Christine Webber, E Karen Woolridge, Carmelo Zucco. M A LAYOUT & DESIGN: , Erick Querci • CreativeProcessDesign T E [email protected] Lobby Days 2011…ACTRA on the Hill L 24 E V Printed in Canada by union labour I S at Thistle Printing. I O All contents are copyright © 2012 ACTRA. N Treaty Co-Productions: A Q&A with Sarah Gadon 26 All rights are reserved and contents, in whole A or in part may not be reprinted without N permission. The points of view expressed do D not necessarily represent those of ACTRA. R A Please return any undelivered mail to: D ACTRA, 300 - 625 Church Street, I 10 O Toronto, ON, M4Y 2G1 A Phone: R 1.800.387.3516 or 416.489.1311 T Fax: 416.489.8076 I S Email: [email protected] Low Budget? No Budget? T 16 S Web: www.actra.ca !ree productions that put ACTRA’s Indie Agreements to work.
    [Show full text]