Using Historical Films to Promote Gender Equity in the History Curriculum Cicely Scheiner-Fisher a & William B

Total Page:16

File Type:pdf, Size:1020Kb

Using Historical Films to Promote Gender Equity in the History Curriculum Cicely Scheiner-Fisher a & William B This article was downloaded by: [Mr William Russell] On: 13 September 2012, At: 18:09 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK The Social Studies Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/vtss20 Using Historical Films to Promote Gender Equity in the History Curriculum Cicely Scheiner-Fisher a & William B. Russell III a a College of Education, University of Central Florida, Orlando, Florida, USA Version of record first published: 10 Sep 2012. To cite this article: Cicely Scheiner-Fisher & William B. Russell III (2012): Using Historical Films to Promote Gender Equity in the History Curriculum, The Social Studies, 103:6, 221-225 To link to this article: http://dx.doi.org/10.1080/00377996.2011.616239 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.tandfonline.com/page/terms-and-conditions This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae, and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand, or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. The Social Studies (2012) 103,221–225 C Copyright ⃝ Taylor & Francis Group, LLC ISSN: 0037-7996 print / 2152-405X online DOI: 10.1080/00377996.2011.616239 Using Historical Films to Promote Gender Equity in the History Curriculum CICELY SCHEINER-FISHER and WILLIAM B. RUSSELL III College of Education, University of Central Florida, Orlando, Florida, USA Teaching with film is viewed as a pedagogical best practice, especially when teaching historical or social studies content. Many of the most popular films used to teach history topics leave women’s voices out of the narrative. Women’s history is generally left out of traditionally male-dominated history curriculum; when it is included, it is usually in the margins or in sidebars. This article promotes the use of historical films that have a female presence. How women are portrayed in film and how to choose films that meet the criteria of the Bechdel Test for women in film are also examined. Keywords: Bechdel Test for women, female perspective, historical films, teaching with film In today’s classroom, the female perspective is often left their materials to make a more balanced and accurate cur- out of the historical narrative students are learning. This is riculum. due in part to the fact that there are not many mandates Students exposed to the many roles women have played for such inclusion. The National Council for the Social throughout history can come to understand that while Studies (NCSS) includes only one standard that mentions women maintained their traditional roles, they were also gender: “Assist learners to describe how family, religion, pursuing greater freedom and forging new lifestyles (Groves gender, ethnicity, nationality, socio-economic status and 1994). They learn to value the diversity of perspective and other group and cultural influences contribute to sense of appreciate that there is not just one narrative, not one per- self.” Individual state standards are similar in nature; for spective, not one history. Unfortunately, most teachers do example, the Florida standards include the study of women not take a women’s history course in their teacher prepa- in U.S. history since 1880, as if there were no women con- ration and therefore find themselves uninformed on the is- tributing to society before that date. The standard itself fo- sues; thus, they perpetuate the omission of women’s history cuses on “the contributions of women ...who have worked in their own classrooms. Gender disparities in the social to achieve equality and improve individual lives”; thus, studies curriculum are often not even recognized by teach- women are only worthy of inclusion if they contributed to ers because the male experience is still seen as the standard Downloaded by [Mr William Russell] at 18:09 13 September 2012 their own fight for political equality (Cruz and Groendal- experience (Marcus and Monaghan 2009). To supplement Cobb 1998). the male experience, teachers can use historical films to Even though classroom teachers are the often arbiters promote gender equity and female perspective. of what does get included in their curriculum, “they may The purpose of this article is to encourage educators to not feel comfortable with the subject matter” (Cruz and use historical films to promote gender equity in history Groendal-Cobb 1998). Moreover, there are other influenc- curriculum. In addition, this article also provides educa- ing factors that relegate women’s history or women’s per- tors with a filmography of gender equitable historical films spective on history to the margins: “school administrators that are considered appropriate and effective for teaching that do not support curriculum reform, instructional ma- a gender equitable history curriculum. terials that omit or segregate women’s contributions and curriculum developers who give little thought to women at all in their courses of study” (Cruz and Groendal-Cobb 1998). It falls then to the classroom teachers to supplement Underrepresentation of Women in Historical Films Many of the most popular films used to teach history leave Address correspondence to Cicely Scheiner-Fisher. E-mail: women’s voices out of the narrative. The Patriot, Glory, and cicely.scheiner-fi[email protected] Forrest Gump have females in the cast, but the women do 222 Scheiner-Fisher and Russell not play a significant role nor make a significant contri- determine if a film has a strong female presence, the au- bution to the story. Case in point: in the film Glory they thors used a test created by Alison Bechdel, an American are listed in the credits as “Black Woman” and “White feminist commentator. The test, known in popular culture Woman.” In a discussion on women’s history, Sam Wineb- as “the Bechdel Test,” does not ask if a film is feminist, only urg notes that women’s history is not interwoven through- if there is a “female presence.” The test examines the female out school history texts; rather, women are simply inserted presence in a film by asking if a film meets three criteria: (1) into the traditional canon, usually in the form of represen- there are more than two females (who have names); (2) the tative sidebars and supplemental material (Wineburg 2001). female characters talk to each other; and (3) they talk to The same can be said for films that place a woman into a each other about something other than a man. Most pop- story in the form of the protagonist’s love interest, family ular films do not meet these criteria. Moreover, the choices member, or single compatriot just for the sake of having a teachers make about the historical films they use in class of- female character. The fact is that women seldom speak only ten do not meet these simple measures, and by doing so they to men or encounter only men; they should not continue to are unconsciously marginalizing half their class. Applying be represented in such a manner. It is easy to overlook the the Bechdel Test when selecting films allows educators to lack of interactions of females with other females because circumvent the pervasive, yet low-grade, sexism of popular the male perspective is considered universal. culture. For more information about the Bechdel test visit Often when women are included in a film for the sake www.bechdeltest.com. of simply having a female in the film, she is relegated to a stock character role. For example, the bad girl or outcast who may or may not prove virtuous in the end; the dumb Teaching History with Film blond or bimbo, an attractive but unintelligent character placed in a film for either comic relief or as the idealized Walt Disney said, “Movies can and do have tremendous in- virginal maiden; the Hooker with the Heart of Gold, a sex- fluence in shaping young lives in the realm of entertainment worker who is also wise and compassionate; the Nurse, who toward the ideals and objectives of normal adulthood.” finds herself in unrequited love with the hero (or villain); One of the main goals of teachers is to influence young stu- the Tomboy, the girl who finds that she just relates better dents toward following the ideals of their society. Teaching with the guys than other females, she may also exhibit jeal- with film is viewed as a pedagogical best practice and an ously of more feminine girls, especially if she has romantic effective tool for enhancing curriculum (Russell and Waters feelings for one of the males (McKinely 1997). Negative 2010; Russell 2012a). Film is considered to be an effective portrayals of women may be damaging to younger viewers communicator and has the potential to arouse emotions perceptions because they are not likely to view such por- (Interview with James McPherson in Russell 2008) and trayals as critically as one might like (Lauzen and Dozier stimulate feelings. The visual imagery of history on film 2005). Obviously, in life, no one has such a one-dimensional can (a) help develop students’ historical understanding of personality. In movies, it is less often that male characters the past, (b) help develop students’ awareness of historical have the narrow experience of their female counterparts; prospective, (c) promote historical thinking, and (d) help thus, students will learn the double standard that occurs students develop historical thinking skills (Russell 2012b).
Recommended publications
  • Author Alison Bechdel's Acceptance of Her Homosexual Iden
    Acceptance versus Suppression: Homosexuality in the “Fun Home” Author Alison Bechdel’s acceptance of her homosexual identity, as illustrated in Fun Home: A Family Tragicomic, is a more fluid experience than her father’s similar realization. Their unique first experiences with their sexuality play a role in their definitions of homosexuality. Both also spend their emerging adulthood years in different settings: Alison in a college setting and Bruce in a small town. Literature is a common bond between the two throughout their relationship, but affects each in different ways, particularly in reference to understanding their sexuality. The immense distinctions in their encounters and experiences involving their homosexuality ultimately shaped their development: Alison into a woman accepting of her identity and Bruce into a man suppressing his. Each character’s first experience with homosexuality differed in everything from their age at the time to the type of person with whom it occurred. Bruce had his first encounter when he was young with a worker at his family farm. Here, he describes it as “nice”, rather than a traumatizing encounter (Bechdel 220). Inspecting the drawings, his face tells a different story. Because of how casually he refers to it, he still seems unwilling to fully admit to his gratification of the experience, even if it was something he enjoyed. When Alison’s mother first informs Alison that her dad is also homosexual, she blames it on this experience (58). 1 Her mother stutters, showing her acknowledgement that her husband’s encounter with the farm hand was not molestation, but something he wanted and most likely enjoyed.
    [Show full text]
  • Graphic Reproduction Susan Merrill Squier and Ian Williams, General Editors
    Graphic Reproduction Susan Merrill Squier and Ian Williams, General Editors Editorial Collective MK Czerwiec (Northwestern University) Michael J. Green (Penn State University College of Medicine) Kimberly R. Myers (Penn State University College of Medicine) Scott T. Smith (Penn State University) Books in the Graphic Medicine series are inspired by a growing awareness of the value of comics as an important resource for communicating about a range of issues broadly termed “medical.” For healthcare practitioners, patients, families, and caregivers dealing with illness and disability, graphic narrative enlightens complicated or difficult experience. For scholars in literary, cultural, and comics studies, the genre articulates a complex and powerful analysis of illness, medicine, and disability and a rethinking of the boundaries of “health.” The series includes original comics from artists and non-artists alike, such as self-reflective “graphic pathographies” or comics used in medical training and education, as well as monographic studies and edited collections from scholars, practitioners, and medical educators. Other titles in the series: MK Czerwiec, Ian Williams, Susan Dana Walrath, Aliceheimers: Merrill Squier, Michael J. Green, Alzheimer’s Through the Looking Kimberly R. Myers, and Scott T. Glass Smith, Graphic Medicine Manifesto Lorenzo Servitje and Sherryl Vint, Ian Williams, The Bad Doctor: The eds., The Walking Med: Zombies and Troubled Life and Times of Dr. Iwan the Medical Image James Henny Beaumont, Hole in the Heart: Peter Dunlap-Shohl, My Bringing Up Beth Degeneration: A Journey Through MK Czerwiec, Taking Turns: Stories Parkinson’s from Unit 371 Aneurin Wright, Things to Do in a Paula Knight, The Facts of Life Retirement Home Trailer Park .
    [Show full text]
  • Lesbian Suicide Musical"
    The Journal of American Drama and Theatre (JADT) https://jadt.commons.gc.cuny.edu Branding Bechdel’s Fun Home: Activism and the Advertising of a "Lesbian Suicide Musical" by Maureen McDonnell The Journal of American Drama and Theatre Volume 31, Number 2 (Winter 2019) ISNN 2376-4236 ©2019 by Martin E. Segal Theatre Center Alison Bechdel offered a complicated and compelling memoir in her graphic novel Fun Home: A Family Tragicomic (2006), adapted by Lisa Kron and Jeanine Tesori into the Broadway musical Fun Home (2015). Both works presented an adult Bechdel reflecting on her father’s troubled life as a closeted gay man and his possible death by suicide. As Bechdel herself noted, “it’s not like a happy story, it’s not something that you would celebrate or be proud of.”[1] Bechdel’s coining of “tragicomic” as her book’s genre highlights its fraught narrative and its visual format indebted to “comics” rather than to comedy. Bechdel’s bleak overview of her father’s life and death served as a backdrop for a production that posited truthfulness as life-affirming and as a means of survival. Fun Home’s marketers, however, imagined that being forthright about the production’s contents and its masculine lesbian protagonist would threaten the show’s entertainment and economic potential. It was noted before the show opened that “the promotional text for the show downplays the queer aspects,” a restriction that was by design.[2] According to Tom Greenwald, Fun Home’s chief marketing strategist and the production’s strategy officer, the main advertising objective was to “make sure that it’s never ever associated specifically with the ‘plot or subject matter.’” Instead, the marketing team decided to frame the musical as a relatable story of a family “like yours.” [3] The marketers assumed that would-be playgoers would be uninterested in this tragic hero/ine if her sexuality were known.
    [Show full text]
  • CBLDF Banned Books Week 2017 Shelftalker Spread
    Marjane Satrapi Mariko Tamaki The good thing is that these people who ban things, If you pull a book from it’s like they are completely unaware of what a hu- CREATORS ON a library shelf, it’s not man being is. If you want to make adolescents read available to the kid who a book, ban it! And then they gets their books at the all want to read it. Because CENSORSHIP! library. So, you’re im- pacting that library as a then they’re rebellious. Why Censorship disproportionately impacts comics. We gathered quotes from creators resource to the readers not just explain it? It’s not (Source: Amer- about censorship and the importance of free expression. who depend on it. (Source: like kids are dumb. She Changed Comics) ican Libraries Magazine) Alison Bechdel Mariko and Jillian Tamaki’s Marjane Satrapi’s Perse- This One Summer was the polis is often challenged My first reaction [to being banned] is: What a great honor! My second reaction is, first graphic novel to earn the for the depiction of Islam. it’s a very interesting situation, and it’s all about the power of images, which I think Caldecott Honor. CBLDF has defended the graphic novel is something people need to talk about. I can understand why people wouldn’t from censorship on several © Marjane Satrapi. Fun Home want their children to accidentally think this was a funny comic book and pick it up occasions. From Persepolis © Jillian and Mariko Tamaki. and see pictures of people having sex. I can understand that.
    [Show full text]
  • This Page Intentionally Left Blank
    THIS PAGE INTENTIONALLY LEFT BLANK ONLINE QUIZ LEAGUE Questions set by MiniWac For use in OQL USA LEAGUE matches during the week beginning November 16, 2020 Correct as of 11/13/2020 Round 1 1a What word from the Hawaiian language meaning peace, compassion, mercy, or affection is now mainly used as a greeting? ALOHA 1b With something of a recurring theme, the albums Ill Communication and Licence to Ill are albums by what rap act? BEASTIE BOYS 2a What cognitive psychologist gives his name to the effect whereby there is a mismatch between the name of a color and the color it is printed on, an example being the word "blue" being printed in red ink? John Ridley STROOP 2b The UK sitcom Man About The House was remade for a US audience and released under what name? The US show ran from 1977 to 1984 and was set in an apartment complex in Santa Monica. THREE'S COMPANY 3a Doing so for the Dallas Cowboys in 1995, what player recorded the first-ever 25-touchdown season in the history of the NFL? Emmitt SMITH 3b What US cartoonist created the comic strip Dykes to Watch Out For and the graphic novel Fun Home? Alison BECHDEL 4a Which dynasty ruled France from 1328 to 1589? Philip VI was its first monarch. VALOIS 4b Black Elk Peak is, at 2,208m, the highest point in which US state—one of the country's least densely populated? SOUTH DAKOTA Round 2 1a What 10-day rodeo event, usually held in July, describes itself as the CALGARY STAMPEDE (prompt on “greatest outdoor show on Earth”? “Stampede”) 1b The Tropic of Cancer passes through several states of what
    [Show full text]
  • Full Bibliography
    Harmony Hammond Full Bibliography PUBLICATIONS BY AND ABOUT HARMONY HAMMOND AND HER WORK 2019 Harmony Hammond: Material Witness, Five Decades of Art, Catalogue essay by Amy Smith- Stewart. Aldrich Contemporary Art Museum and Gregory R. Miller & Co. (New York) Vitamin T: Threads & Textiles, 2019. Phaidon Press Limited (London) “Harmony Hammond”, interviewed by Tara Burk. Art After Stonewall: 1969 – 1989, ed. Jonathan Weinberg. Rizzoli Electa (New York) Queer Abstraction, Des Moines Art Center, Des Moines, IA. Catalogue essays by Jared Ledesma and David Getsy, About Face: Gender, Revolt & the New Queer Art, Wrightwood 659, Chicago, IL. Catalogue essay by Jonathan D. Katz “Artists and Creatives Reflect on How Stonewall Changed Art”, Julia Wolkoff. Artsy, June 14 “Queer Art, Gay Pride, and the Stonewall Riots –50 Years Later”,Sur Rodney (Sur). Artsy. June 3, “West By Southwest: Considering Landscape in Contemporary Art”, Shane Tolbert. The Magazine, June “Lucy Lippard”, Jenn Shapland. The Magazine, June “Queer Artists in Their Own Words: Savannah Knoop Is an Intimacy Hound”, Zachary Small. Hyperallergic, June 7 “Beyond Boston: 6 Summer Exhibits Around New England”. WBUR. The ARTery. June 4 “A Show About Stonewall’s Legacy Falters on Indecision”,Danilo Machado, Hyperallergic,June 6 “Critic’s Pick’s, Holland Cotter. The New York Times, May 30 “Material Witness: Five Decades of Art”, Ariella Wolens. SPIKE ART #59, Spring “Blood, Sweat and Piss: Art Is a Hard Job”, Osman Can Yerebakan. ELEPHANT, May 18 “Why So Many Artists Have Been Drawn to New Mexico”, Alexxa Gotthardt, Artsy, May 17 “Art After Stonewall, 1969 – 1989”, Jonathan Weinberg and Anna Conlan, The Archive, Spring “Playful furniture, Native Art, and hidden grottoes are a few of the highlights from this season’s top exhibitions”, AFAR, May 10 “’art after stonewall’ examines a crucial moment in lgbtq history”.
    [Show full text]
  • Typical Girls: the Rhetoric of Womanhood in Comic Strips Susan E
    Typical girls The Rhetoric of Womanhood in Comic Strips Susan E. Kirtley TYPICAL GIRLS STUDIES IN COMICS AND CARTOONS Jared Gardner and Charles Hatfield, Series Editors TYPICAL GIRLS The Rhetoric of Womanhood in Comic Strips SUSAN E. KIRTLEY THE OHIO STATE UNIVERSITY PRESS COLUMBUS COPYRIGHT © 2021 BY THE OHIO STATE UNIVERSITY. THIS EDITION LICENSED UNDER A CREATIVE COMMONS ATTRIBUTION- NONCOMMERCIAL-NODERIVS LICENSE. THE VARIOUS CHARACTERS, LOGOS, AND OTHER TRADEMARKS APPEARING IN THIS BOOK ARE THE PROPERTY OF THEIR RESPECTIVE OWNERS AND ARE PRESENTED HERE STRICTLY FOR SCHOLARLY ANALYSIS. NO INFRINGEMENT IS INTENDED OR SHOULD BE IMPLIED. Library of Congress Cataloging-in-Publication Data Names: Kirtley, Susan E., 1972– author. Title: Typical girls : the rhetoric of womanhood in comic strips / Susan E. Kirtley. Other titles: Studies in comics and cartoons. Description: Columbus : The Ohio State University Press, [2021] | Series: Studies in comics and cartoons | Includes bibliographical references and index. | Summary: “Drawing from the work of Lynn Johnston (For Better or For Worse), Cathy Guisewite (Cathy), Nicole Hollander (Sylvia), Lynda Barry (Ernie Pook’s Comeek), Barbara Brandon-Croft (Where I’m Coming From), Alison Bechdel (Dykes to Watch Out For), and Jan Eliot (Stone Soup), Typical Girls examines the development of womanhood and women’s rights in popular comic strips”—Provided by publisher. Identifiers: LCCN 2020052823 | ISBN 9780814214572 (cloth) | ISBN 0814214576 (cloth) | ISBN 9780814281222 (ebook) | ISBN 0814281222 (ebook) Subjects: LCSH: Comic strip characters—Women. | Women in literature. | Women’s rights in literature. | Comic books, strips, etc.—History and criticism. Classification: LCC PN6714 .K47 2021 | DDC 741.5/3522—dc23 LC record available at https://lccn.loc.gov/2020052823 COVER DESIGN BY ANGELA MOODY TEXT DESIGN BY JULIET WILLIAMS TYPE SET IN PALATINO For my favorite superhero team—Evelyn, Leone, and Tamasone Castigat ridendo mores.
    [Show full text]
  • The Rough Guide to Graphic Novels Limited Edition Pdf, Epub, Ebook
    THE ROUGH GUIDE TO GRAPHIC NOVELS LIMITED EDITION PDF, EPUB, EBOOK Danny Fingeroth | 312 pages | 15 Sep 2008 | Apa Publications | 9781848360105 | English | London, United Kingdom The Rough Guide to Graphic Novels Limited Edition PDF Book Every stroke of his brush is thoughtful, deliberate, and full of emotion. It is bottled at a cask strength of They keep your eyes on the mentioned Planetary, Vol. Welcome back. Scott Snyder Goodreads Author Writer. And like all comics, graphic novels use thought or speech balloons also called bubbles to show what a character is thinking or saying. Aug 14, PM. Jonathan wrote: "Laura wrote: "I was actually trying to figure out the difference between manga, comic, and graphic novel, and one of the main things I found was that graphic novels are considered a complete story Mar 17, PM. For example, Art Speigelman, author of "Maus," used the medium to relate true stories about his father's experiences during the Holocaust. Pencilers imagine and execute the layout of each page, creating the panels and gutters and drawing the characters and environment of the story. Donald Duck is still the diabolical Duck Avenger Masamune Shirow. We will not remove any content for bad language alone, or being critical of a particular book. Guy Delisle. Sep 17, PM. It also includes an exclusive poster, cover, and cover gallery. George, Hallelujah. At some point, he says, "Our educational system became obsessed with the idea that information was and is best learned through prose, poetry, and script devoid of visual context or connection of any kind. Awesome art and an epic story to boot.
    [Show full text]
  • Stony Brook University
    SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... The Graphic Memoir and the Cartoonist’s Memory A Dissertation Presented by Alice Claire Burrows to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Comparative Literature Stony Brook University August 2016 Stony Brook University The Graduate School Alice Claire Burrows We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. _________________________________________________________ Raiford Guins, Professor, Chairperson of Defense _________________________________________________________ Robert Harvey, Distinguished Professor, Cultural Analysis & Theory, Dissertation Advisor _________________________________________________________ Krin Gabbard, Professor Emeritus, Cultural Analysis & Theory _________________________________________________________ Sandy Petrey, Professor Emeritus, Cultural Analysis & Theory _________________________________________________________ David Hajdu, Associate Professor, Columbia University, Graduate School of Journalism This dissertation is accepted by the Graduate School ___________________________ Charles Taber Dean of the Graduate School ii Abstract of the Dissertation
    [Show full text]
  • Sunday at Comic Con Files/SDCC Sundays Newsletter.Pdf
    T O D AY Daily Newsletter of Comic-Con International Sunday, July 15, 2012 Featuring: * Highlights * Last Minute Updates * Autograph Info * Anime and Film Schedule * Programming Grids * Photo Gallery * And More Inside! Top left: Crowds swarm into the Gaslamp Quarter as the convention winds down for the day. Top right: Cartoon voice actress Debi Derryberry entertains a packed room with her impressions of Snow White. For a complete Middle left: Lucky fan Mike Castelo got a personal recognition from Chris Hardwick (The Nerdist) during the Warner Bros. presentation. Middle right: The 501st Legion gathers for their annual Comic-Con picture. listing of all things Bottom left: Keith Knight participates in his first ever Quick Draw with Scott Shaw!, SergioAragonés, and Mark Evanier. Comic-Con, see the Bottom center: Aaron Paul gets in a Fan’s face at the Breaking Bad signing. Bottom right: The Rellama familty stays together by cosplaying together. Events Guide. ©2012 Viacom, International, Inc. All Rights Reserved. PDF processed with CutePDF evaluation edition www.CutePDF.com SUNDAY PROGRAMS PANELS FOR KIDS OF ALL AGES SUNDAY ANIME • FILM FESTIVAL 10 11 12 1 2 3 4 5 COMIC-CON New Methods in Jim Lee in ANIME SCREENINGS • MARRIOTT MARQUIS & MARINA COMIC-CON From Manuscript From Book in Print HOW-TO Digital Painting and Coloring Conversation with INTERNATIONAL ROOM 2 to Industry to Reader’s Hand MARRIOTT HALL 4 MARRIOTT HALL 5 MARRIOTT HALL 6 with Brian Haberlin Scott Brick INDEPENDENT Keenspot 2012: 10:00 Someday’s Dreamers 10:00 Clamp School Detectives
    [Show full text]
  • AAUEC Schedule
    St Dunstan’s Main Building 213 St Dunstan’s Main Building 211 A Guide to Getting Published Gender and Embodied Subjectivity in Literature 5:15 Dr. David Hickey Sarah Vallis, “Polite Deference: Queen Elizabeth I’s - tempering with gendered bodies and power” 4:00 Sawyer Carnegie, “Exploring Judith Butler’s Gender Theory Through Alison Bechdel’s Fun Home” Grace McNutt, "Absent Fathers and Masculinity in Jack Kerouac's On the Road" Welcome to the 2017 Annual Atlantic Undergraduate English Conference, hosted at the University of Prince FRIDAY 12:00 PM – 5:00 PM Edward Island. The Pourhouse (189 Great George Street) St Dunstan’s Main Building Lobby This is your guide to the conference Registration weekend. We are excited to host a Poetry and Play Night diverse range of panels featuring both Karlee Bustelli, “Flight” academic and creative work. Emily Cann, “Catching Feeling” FRIDAY 3:00 PM – 4:00 PM 9:30 - St Dunstan’s Main Building Faculty Lounge Amy Parks, “Il-BENNEJ U IL-BAĦĦAR: THE MASON AND THE MARINER” Formal Opening 7:00 Lacey Little, “Six Poems” Cody Jack, “One-Way Ticket: The Five Stages of Grief” SATURDAY 7:00 PM (Play) The Rodd Charlottetown Provinces Room Banquet aaueconference2017.wordpress.com facebook.com/aauec2017/ St Dunstan’s Main Building 213 St Dunstan’s Main Building 211 St Dunstan’s Main Building 117 Constructed Experience and Dichotomous Representation Fictional and Factual Literary Friendships and Influences Meghan Burry, “‘A Fallen Women:’ The Constructed Virginity in Nadine Josephine Menghin, “‘A Friend in the Margins’: a look at the “double Maternal Meaning: Examining Women’s Role in Creation William Faulkner’s The Sound and the Fury” exclusions” in Renaissance concepts of friendship” Cecilia Stuart, “Mothers of Malice: Exploring the Relationship Between 10:15 Joshua Foote, “Examining the Divide: Gender Identity in Alison Hannah Blizzard, “The Grail, the Fisher King, and the Waste Land: Witchcraft and Maternity in Early Modern England” – Bechdel’s Fun Home and Judith Butler’s Gender Trouble” Reconsidering Jessie Weston’s influence on T.S.
    [Show full text]
  • Hollywood Liberalism
    Hollywood liberalism: myth or reality? A study of the representation of race, gender and class in popular culture and its impact on the American society Mathilde Debrieux To cite this version: Mathilde Debrieux. Hollywood liberalism: myth or reality? A study of the representation of race, gender and class in popular culture and its impact on the American society. Literature. 2014. dumas- 01021550 HAL Id: dumas-01021550 https://dumas.ccsd.cnrs.fr/dumas-01021550 Submitted on 9 Jul 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Hollywood liberalism: myth or reality? A study of the representation of race, gender and class in popular culture and its impact on the American society. DEBRIEUX Mathilde UFR de Langues, Université Stendhal - Grenoble 3 Mémoire de Master 1 LLCE Recherche Sous la direction de S. Berthier-Foglar Année universitaire 2013-2014 ACKNOWLEDGMENTS : I would like to thank Mrs Berthier-Foglar for agreeing to oversee my work and for providing me with guidance and advice; as well as Mr Besson for accepting to be part of the jury. I am also very grateful to all my friends and relatives for their unwavering help and support.
    [Show full text]