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Sharifah Aishah Osman

Abstract

Rape culture is a provocative topic in Malaysia; the public discourse on it is plagued by gender stereotyping, sexism, misogyny, and rape myths. Recent literary works aimed at Malaysian adolescent girls have interrogated rape culture more pointedly as a means of addressing gender-based violence through activism and education. In this article, I discuss two short stories, “The Girl on the Mountain” and “Gamble” as retellings of Malaysian legends and feminist responses to the normalization and perpetuation of rape culture in this society. Through the emphasis on female agency, consent, and gender equality, these two stories reflect the subversive power of Malaysian young adult literature in dismantling rape culture, while affirming the significance of the folktale as an empowering tool for community engagement and feminist activism.

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Jessica Bay, Alaina Schempp, Daniela Schlütz, and R. Colin Tait

Smith, Anthony N., Storytelling Industries: Narrative Production in the 21st Century. London: Palgrave MacMillan, 2018, 266 pp., $59.99 (eBook), ISBN: 978-3-319-70597-2.

Harrod, Mary, and Katarzyna Paszkiewicz, eds., Women Do Genre in Film and Television. New York: Routledge, 2018, 266 pp., $39.16 (paperback), ISBN: 9780367889845.

García, Alberto N. ed., Emotions in Contemporary TV Series. New York: Palgrave Macmillan, 2016, 253 pp., $89.00, ISBN: 978-1-137-56885-4.

Dunleavy, Trisha. Complex Serial Drama and Multiplatform Television. New York: Routledge, 2019, 202 pp., $46.95, ISBN: 9781138927759.

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Consent is not as Simple as Tea

Student Activism against Rape Culture

Brittany Adams

Abstract

In this article, I report on an action project undertaken by a group of young women (aged 18 to 20) to foster public discussions about the prevalence of rape culture on their university's campus. Students proposed this action project during a book study of a young adult (YA) novel that focused on rape culture and sexual violence. Discussions during the book study resulted in the women creating a video designed for university orientation events that addressed common misconceptions about issues such as consent, relationship violence, sexual coercion, and victimhood. Using case study and narrative methods, I recount my experience of witnessing unexpected activism in my classroom. Framed within critical literacy research, I consider the outcomes of making space for student activism and I discuss implications for practitioners.

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Editorial

From the Editor

Ted Nannicelli

Welcome to the first issue of Projections for 2021. After a brief hiatus from printing due to the COVID-19 pandemic last year, we are once again publishing online and in print. (A reminder to members of the Society for Cognitive Studies of the Moving Image [SCSMI]: an online subscription to Projections is now the default inclusion for memberships; members who would prefer to receive hard copies can do so by paying a small surcharge.) I would like to thank the team at Berghahn, especially Janine Latham, for their ongoing support. Thanks too are due to associate editors Aaron Taylor and Tim Smith, along with Katalin Bálint who covered for Tim while he was on leave. Finally, I would like to extend special thanks to our referees in 2020 who willing donated their time to support us during what was a very difficult year for everyone. The names of all referees for 2020 are listed below as an acknowledgment of their service.

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Michele Meek

Abstract

The discursive shift during the twenty-first century from “no means no” to “yes means yes” clearly had an impact on contemporary American teen films. While teen films of the 1970s and 1980s often epitomized rape culture, teen films of the 2010s and later adopted consent culture actively. Such films now routinely highlight how obtaining a girl's “yes” is equally important to respecting her “no.” However, the framework of affirmative consent is not without its flaws. In this article, I highlight how recent teen movies expose some of these shortcomings, in particular how affirmative consent remains a highly gendered discourse that prioritizes verbal consent over desire.

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Fantasies of the Good Life

Responding to Rape Culture in 13 Reasons Why

Cameron Greensmith and Jocelyn Sakal Froese

Abstract

Using Lauren Berlant's concept of cruel optimism, we address the ways in which rape culture, as depicted in Jay Asher's 13 Reasons Why and the first two seasons of the Netflix adaptation, shapes girls’ agency and attachment to possible futures. We take seriously the ways in which social and institutional structures in 13 Reasons Why produce girls’ livability as tied to everyday forms of sexist violence, which supposedly grant them access to what they think of as the good life. Bound up in these cruel attachments is a more limited set of options than may appear available: girls are called upon to endure daily violence in hopes of achieving this fantasy or to choose alternative paths, such as slow death or even suicide.

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The Feel-Good Film

Genre Features and Emotional Rewards

Keyvan Sarkhosh and Winfried Menninghaus

Abstract

In film criticism, “feel-good films” are widely dismissed as intellectually undemanding and sentimental entertainment. This study identifies key characteristics, emotional effects, and aesthetic qualities of feel-good films from the audience's perspective. Although the feel-good film does not appear to be a genre in its own right, it is more than just a rather vague category. Romantic comedy films with a substantial share of drama are shown to be the most prototypical feel-good genre blend. Fairy-tale likeness and perceived lightness were indicated as key characteristics of these films. Yet for all their focus on happiness and relaxation, the emotional trajectories also involve serious conflicts and are experienced as profoundly moving. Moreover, preferences for feel-good films differ greatly, depending on gender and age.

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Keyvan Sarkhosh and Winfried Menninghaus

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Claudia Mitchell

I met Roxanne Harde, the guest editor of this Special Issue, at the Second International Girls Studies Association conference in 2019 when I attended the panel discussion, “Representations of Rape in Young Adult Fiction.” I recall Roxanne's passion vividly and, indeed, the enthusiasm of all three presenters as they discussed a variety of texts in superb presentations that aligned well with Ann Smith's notion of feminism in action in their seeing “a fictional text not only as a literary investigation into issues of concern to its author but also as the site of educational research” (2000: 245). Their papers pointed to the ways in which the analysis of how rape culture is treated in Young Adult (YA) literature, film, and the print media can take scholars and activists so much further into the issues, and, at the same time, noted the ways in which rape culture in all its manifestations as a global phenomenon has inevitably led to its becoming an everyday topic of YA fiction.

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Roxanne Harde

In 1983, Andrea Dworkin addressed the Midwest Men's Conference in Minneapolis. She discussed the rape culture in which we live, noted the similarities between rape and war, and, following the title of her talk, asked for a “24-hour truce in which there is no rape.” And she asked why men and boys are so slow to understand that women and girls “are human to precisely the degree and quality that [they] are” (n.p.). Every sexual assault begins with the dehumanization of the victim. And sometimes, after the violation, after the pain and the fear, comes the institutional dehumanization visited upon the victim who seeks medical or legal help. Two recent memoirs bring to the surface rape culture, evident in the young men who raped these girls and the systemic dehumanization they suffered when they sought justice. describes the aftermath of being sexually assaulted, when she was just out of college and still living at home, by someone she met at a fraternity party. Although the case against her rapist was as strong as possiblethere were eyewitnesses and physical evidence was collected immediatelyhe was sentenced to only six months in the county jail, and she was repeatedly shamed, her humanity denied by the judicial system. describes the aftermath of being sexually assaulted, when she was 15, by two boys, students at her New England boarding school, including an account of how school officials refused to do anything other than label her promiscuous and protect the boys. The ways in which she was silenced by St. Paul's, which disregarded her health and future, and denied her humanity because she was only a girl, were profound. In both cases, the promising future of the perpetrators was prioritized over the humanity of the girls by many institutions, including the judiciary and the press. Crawford was raped just seven years after Dworkin made her plea to that men's conference, but Miller was assaulted twenty-five years after, making perfectly clear that rape culture has become only more entrenched.