'The Politics of Location': Feminist and Queer Spaces Within Global Contexts
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Patricia Highsmith's Queer Disruption: Subverting Gay Tragedy in the 1950S
Patricia Highsmith’s Queer Disruption: Subverting Gay Tragedy in the 1950s By Charlotte Findlay A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English Literature Victoria University of Wellington 2019 ii iii Contents Acknowledgements ………………………………………………………………..……………..iv Abstract……………………………………………………………………………………………v Introduction………………………………………………………………………………………..1 1: Rejoicing in Evil: Queer Ambiguity and Amorality in The Talented Mr Ripley …………..…14 2: “Don’t Do That in Public”: Finding Space for Lesbians in The Price of Salt…………………44 Conclusion ...…………………………………………………………………………………….80 Works Cited …………..…………………………………………………………………………83 iv Acknowledgements Thanks to my supervisor, Jane Stafford, for providing always excellent advice, for helping me clarify my ideas by pointing out which bits of my drafts were in fact good, and for making the whole process surprisingly painless. Thanks to Mum and Tony, for keeping me functional for the last few months (I am sure all the salad improved my writing immensely.) And last but not least, thanks to the ladies of 804 for the support, gossip, pad thai, and niche literary humour I doubt anybody else would appreciate. I hope your year has been as good as mine. v Abstract Published in a time when tragedy was pervasive in gay literature, Patricia Highsmith’s 1952 novel The Price of Salt, published later as Carol, was the first lesbian novel with a happy ending. It was unusual for depicting lesbians as sympathetic, ordinary women, whose sexuality did not consign them to a life of misery. The novel criticises how 1950s American society worked to suppress lesbianism and women’s agency. It also refuses to let that suppression succeed by giving its lesbian couple a future together. -
Graduate Celebration
2021 GRADUATE CELEBRATION GRADUATE CELEBRATION PROGRAM Friday, June 11, 2021 CLASS OF 2021 DEPARTMENT OF THEATER MUSICAL PERFORMANCE WHEN I GROW UP, FROM MATILDA THE MUSICAL MUSIC AND LYRICS BY TIM MINCHIN PERFORMED BY WALKER BRINSKELE, RIVA BABE BRODY, KIARAH DAVIS, TALIA GLOSTER, JOI MCCOY, CAROLINE PERNICK, HANNAH ROSE, ABE SOANE WELCOME AND RECOGNITION OF MARSHALS BRIAN KITE INTERIM DEAN, UCLA SCHOOL OF THEATER, FILM AND TELEVISION 2021 SPEECHES GENE BLOCK UCLA CHANCELLOR STEVE ANDERSON INTERIM CHAIR, DEPARTMENT OF FILM, TELEVISION AND DIGITAL MEDIA DOMINIC TAYLOR ACTING CHAIR, DEPARTMENT OF THEATER DEMI RENEE KIRKBY VALEDICTORIAN, DEPARTMENT OF THEATER TIFFANY MARGARET ROWSE VALEDICTORIAN, DEPARTMENT OF FILM, TELEVISION AND DIGITAL MEDIA LATIN HONORS RECOGNITION BRIAN KITE KEYNOTE SPEAKER NILO CRUZ PULITZER PRIZE-WINNING PLAYWRIGHT RECOGNITIONS BRIAN KITE CELEBRATION VIDEO UCLA SCHOOL OF THEATER, FILM AND TELEVISION PRESENTATION OF DEGREE CANDIDATES BRIAN KITE FINAL REMARKS UCLA SCHOOL OF THEATER, FILM AND TELEVISION ACKNOWLEDGES THE GABRIELINO/TONGVA PEOPLES AS THE TRADITIONAL LAND CARETAKERS OF THE LOS ANGELES BASIN AND SOUTHERN CHANNEL ISLANDS. AS A LAND GRANT INSTITUTION, UCLA ALSO PAYS RESPECT TO TONGVA ANCESTORS, ELDERS AND RELATIVES - PAST, PRESENT AND EMERGING. LETTER FROM THE PRESIDENT MICHAEL V. DRAKE, M.D. Congratulations, UCLA Class of 2021! It is my honor to join your family, friends, and the entire University of California community in celebrating you and your wonderful accomplishment. Amid historically challenging circumstances across the globe, you have worked hard, persisted and persevered, in pursuit of your UC education. I hope you will always take great pride in what you have achieved at the University of California, and in being a part of the UC family for life. -
The Aesthetics of Stealth Towards an Activist Philosophy of Becoming-Imperceptible in Contemporary Media Pape, T
UvA-DARE (Digital Academic Repository) The aesthetics of stealth Towards an activist philosophy of becoming-imperceptible in contemporary media Pape, T. DOI 10.1080/14680777.2017.1326564 Publication date 2017 Document Version Final published version Published in Feminist Media Studies License CC BY Link to publication Citation for published version (APA): Pape, T. (2017). The aesthetics of stealth: Towards an activist philosophy of becoming- imperceptible in contemporary media. Feminist Media Studies, 17(4), 630-645. https://doi.org/10.1080/14680777.2017.1326564 General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:02 Oct 2021 Feminist Media Studies ISSN: 1468-0777 (Print) 1471-5902 (Online) Journal homepage: http://www.tandfonline.com/loi/rfms20 The aesthetics of stealth: towards an activist philosophy of becoming-imperceptible in contemporary media Toni Pape To cite this article: Toni Pape (2017) The aesthetics of stealth: towards an activist philosophy of becoming-imperceptible in contemporary media, Feminist Media Studies, 17:4, 630-645, DOI: 10.1080/14680777.2017.1326564 To link to this article: https://doi.org/10.1080/14680777.2017.1326564 © 2017 The Author(s). -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
Before Its Time: Public Perception of Disability Rights, the Americans with Disabilities Act, and the Future of Access and Accommodation
Washington University Journal of Law & Policy Volume 23 Disabilities January 2007 Before Its Time: Public Perception of Disability Rights, the Americans with Disabilities Act, and the Future of Access and Accommodation Mary Johnson The Disability Rag Follow this and additional works at: https://openscholarship.wustl.edu/law_journal_law_policy Part of the Disability Law Commons Recommended Citation Mary Johnson, Before Its Time: Public Perception of Disability Rights, the Americans with Disabilities Act, and the Future of Access and Accommodation, 23 WASH. U. J. L. & POL’Y 121 (2007), https://openscholarship.wustl.edu/law_journal_law_policy/vol23/iss1/5 This Essay is brought to you for free and open access by the Law School at Washington University Open Scholarship. It has been accepted for inclusion in Washington University Journal of Law & Policy by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. Before Its Time: Public Perception of Disability Rights, the Americans with Disabilities Act, and the Future of Access and Accommodation Mary Johnson* The 1990 Americans with Disabilities Act (ADA)1 passed Congress as a result of the work of a small group of disability rights lobbyists. Unlike those who worked on the 1964 Civil Rights Act when it was in Congress, these lobbyists did not mount an effort to explain to the public the need for the law. They did not try to get reporters to write about the problem of disability discrimination and the need for civil rights protections for people with disabilities. They believed that reporters held too many stereotypes about people with disabilities to be trusted to write accurately about the need for the law.2 Because of this group’s strategy of avoiding the media, the ADA passed without any broad societal understanding about what “disability discrimination” means, and it seems that, because of this, it has taken a beating in both the court of law and the court of public opinion. -
Sketchy Lesbians: "Carol" As History and Fantasy
Swarthmore College Works Film & Media Studies Faculty Works Film & Media Studies Winter 2015 Sketchy Lesbians: "Carol" as History and Fantasy Patricia White Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-film-media Part of the Film and Media Studies Commons Recommended Citation Patricia White. (2015). "Sketchy Lesbians: "Carol" as History and Fantasy". Film Quarterly. Volume 69, Issue 2. 8-18. DOI: 10.1525/FQ.2015.69.2.8 https://works.swarthmore.edu/fac-film-media/52 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Film & Media Studies Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. FEATURES SKETCHY LESBIANS: CAROL AS HISTORY AND FANTASY Patricia White Lesbians and Patricia Highsmith fans who savored her 1952 Headlining a film with two women is considered box of- novel The Price of Salt over the years may well have had, like fice bravery in an industry that is only now being called out me, no clue what the title meant. The book’s authorship was for the lack of opportunity women find both in front of and also murky, since Highsmith had used the pseudonym Claire behind the camera. The film’s British producer Liz Karlsen, Morgan. But these equivocations only made the book’s currently head of Women in Film and Television UK, is out- lesbian content more alluring. When published as a pocket- spoken about these inequities. Distributor Harvey Weinstein sized paperback in 1952, the novel sold nearly one million took on the risk in this case, banking on awards capital to copies, according to Highsmith, joining other suggestive counter any lack of blockbuster appeal. -
Sexism from Page to Screen: How Hollywood Screenplays Inscribe Gender
Networking Knowledge Sexism From Page to Screen (Jun. 2017) Sexism From Page to Screen: How Hollywood Screenplays Inscribe Gender DR RADHA O’MEARA, University of Melbourne ABSTRACT This article analyses how characters are described in recent Hollywood screenplays, and notes that female characters are routinely described very differently than male characters. Male characters are commonly named and described expansively, whereas female characters are often unnamed, described meagrely, highly sexualised and infantalised. How characters are described in screenplays matters, because it impacts on production practices, the nature of workplaces, the films produced, and the gender representations we see daily on our screens. Conceptualizing this as a problem of screenwriting rather than an abstract problem of representation helps us imagine and enact change for people both imagined and real. KEYWORDS screenplays, sexism, gender, feminism, Hollywood, screenwriting, representation Introduction: Hollywood is Sexist…In Ways We Haven’t Even Explored Yet In this article, I argue that sexist representations of women on screen are already well formed before a woman steps in front of a camera, before a single frame is shot. By analysing Hollywood screenplays, we can see how women are imagined by the writers of the world’s biggest screen industry. And it is not pretty. The representation of women in screenplays recently came to popular attention with the Twitter feed @FemScriptIntros, where American film producer Ross Putnam tweets descriptions of female characters from unproduced scripts he reads, anonymized with the character name JANE. It received a great deal of media attention (Wagner 2016, Hunt 2016, Brown 2016, Dockterman 2016). The quotations published in the @FemScriptIntros twitter feed effectively demonstrate a pattern of women valued for their youth, beauty and sexuality. -
Containment by Stealth: Chinese Views of and Policies Toward America’S Alliances with Japan and Korea After the Cold War
Containment by Stealth: Chinese Views of and Policies toward America’s Alliances with Japan and Korea after the Cold War Yu Bin September 1999 1 2 About the Author Yu Bin is associate professor in the Political Science Department of Wittenberg University, Ohio, and faculty associate of the Mershon Center, Ohio State University. His research focuses on East Asian politics and foreign relations. 3 4 Containment by Stealth: Chinese Views of and Policies toward America’s Alliances with Japan and Korea after the Cold War Yu Bin Introduction At the height of the Cold War, the dominant Western theories of alliance building in interstate relations argued that alliances tend to be motivated more by an external need to confront a clearly defined common adversary than by the domestic attributes of alliance partners.1 The newly reinvigorated U.S.-Japan alliance,2 however, together with the newly expanded NATO, seems to depart from the conventional pattern by emphasizing shared democratic values and by maintaining a high degree of ambiguity regarding the goals and targets of the alliance. Although these new features of American-led military alliances provide an anchor in an other- wise highly fluid situation in the post–Cold War world, many Chinese foreign- and defense- policy analysts believe that U.S. alliances with Asian countries, particularly with Japan, pose a serious, long-term challenge, if not a threat, to China’s national security, national unification, and modernization. The ambiguity of the revised U.S.-Japan security alliance means that it is at best searching for targets and at worst aiming at China.3 China’s concerns about the intention, scope, and capability of the alliances are set against a backdrop of several major changes in the region: the end of the Cold War, the simultaneous rise of China and Japan, the post-revolution reforms of Asian communist regimes, and the United States as the sole superpower. -
Undergraduate Scholarship and Creative Activity 2017
WINTHROP UNIVERSITY UNDERGRADUATE SCHOLARSHIP & CREATIVE ACTIVITY 2017 1 “Creativity requires input, and that’s what research is. You’re gathering material with which to build.” – Gene Luen Yang, American cartoonist “There is nothing like looking, if you want to nd something. You certainly usually nd something, if you look, but it is not always quite the something you were after.” – J.R.R. Tolkien University College and Winthrop University proudly present Undergraduate Scholarship and Creative Activity 2017. This sixth annual University-wide compilation of undergraduate work chronicles the accomplishments of students and faculty mentors from 29 academic departments and programs, spanning all ve colleges of the university: College of Arts and Sciences (CAS), College of Business Administration (CBA), College of Education (COE), College of Visual and Performing Arts (CVPA) and University College (UC). We think you will be impressed by the depth and diversity of the scholarly and creative research highlighted within these pages. As you will see, these student projects grew from a variety of origins, including curricular requirements and extra-curricular programs, and were supported by a range of intra- and extramural funding sources. Students also shared their projects in a remarkable array of venues: publishing papers in refereed journals; presenting and performing scholarship at regional, national, and international conferences; and showing work in juried exhibitions. We congratulate all our student scholars on their creation of new knowledge and new forms of creative expression, as well as their development of professional skills and attributes that have prepared them to pursue nationally competitive awards, graduate and professional degrees, and employment in their chosen elds. -
The Filibuster and the Framing: Why the Cloture Rule Is Unconstitutional and What to Do About It, 55 B.C.L
Boston College Law Review Volume 55 | Issue 1 Article 3 1-29-2014 The iF libuster and the Framing: Why the Cloture Rule is Unconstitutional and What to Do About It Dan T. Coenen University of Georgia School of Law, [email protected] Follow this and additional works at: http://lawdigitalcommons.bc.edu/bclr Part of the Constitutional Law Commons, Law and Politics Commons, and the Legal History Commons Recommended Citation Dan T. Coenen, The Filibuster and the Framing: Why the Cloture Rule is Unconstitutional and What to Do About It, 55 B.C.L. Rev. 39 (2014), http://lawdigitalcommons.bc.edu/bclr/vol55/iss1/3 This Article is brought to you for free and open access by the Law Journals at Digital Commons @ Boston College Law School. It has been accepted for inclusion in Boston College Law Review by an authorized editor of Digital Commons @ Boston College Law School. For more information, please contact [email protected]. THE FILIBUSTER AND THE FRAMING: WHY THE CLOTURE RULE IS UNCONSTITUTIONAL AND WHAT TO DO ABOUT IT DAN T. COENEN* Abstract: The U.S. Senate’s handling of filibusters has changed dramatically in recent decades. As a result, the current sixty-vote requirement for invoking clo- ture of debate does not produce protracted speechmaking on the Senate floor, as did predecessors of this rule in earlier periods of our history. Rather, the upper chamber now functions under a “stealth filibuster” system that in practical effect requires action by a supermajority to pass proposed bills. This Article demon- strates why this system offends a constitutional mandate of legislative majoritari- anism in light of well-established Framing-era understandings and governing substance-over-form principles of interpretation.