structure ( Foucault 1989 ; Sawicki 1991 ). Dangerously, women and men who conform to these ideals see their identities validated in mainstream media, experiencing legitimization through representation ( O'barr 2011 ). For example, the most coveted
Search Results
Groped and Gutted
Hollywood's Hegemonic Reimagining of Counterculture
Samantha Eddy
Sade for Sade's Sake
Inside Paul Chan's Transmedial Laboratory
Olivier Delers
fascism. And Chan does not forget Michel Foucault's (1998) pronouncement that Sade is a “sergeant of sex,” the creator of regimented, repetitive, and ultimately boring sexual imagery. It is by teasing out elements from different intellectual approaches
Bodies with Objects in Space through Screens
Casual Virtuality and the Self-Mediation of Laura Paolini's Constraining Aesthetics
Jakub Zdebik
( Foucault 1983 ). Figure 1. Laura Paolini, Sitting in a Chair (2019) (courtesy of the artist) Figure 2. Laura Paolini, Getting Out of Bed (film still, 2019) (courtesy of the artist) But perhaps what the furniture pieces represent is
Redefining Representation
Black Trans and Queer Women’s Digital Media Production
Moya Bailey
conceptions. The system, while ardent in expressing a need for cultural competency in medicine, still fundamentally understands and measures the body in terms of a set point of normal cy, which it then uses to discipline and treat all bodies (Foucault 1977
Reviews
Linda Howell, Ryan Bell, Laura Helen Marks, Jennifer L. Lieberman, and Joseph Christopher Schaub
became disciplinary in Michel Foucault’s sense of the term. Building on the careful framework that he established in Part One, he argues that “when the history of networks articulates an imagined material form that crosses technology, biology, finance
Enactive Authorship
Second-Order Simulation of the Viewer Experience—A Neurocinematic Approach
Pia Tikka
Foucault, Jacques Derrida, and Seán Burke soon joined, still linger on (see Burke 2008 ). In film studies specifically, a tendency is to move discussion from single authorship (a film director) toward “collaborative and decentered” authorship, as Jason
Ruined Abjection and Allegory in Deadgirl
Sol Neely
has become celebrated and dominant in Anglo-feminist critical theories. 3 My sense of “diachrony” here is informed both by Foucault’s notion of genealogy as diachrony and by Emmanuel Levinas’s notion of diachrony as tied to the saying and which
“There’s nothing makeup cannot do”
Women Beauty Vloggers’ Self-Representations, Transformations, and #thepowerofmakeup
Michele White
.1177/1464700106064423 Bartky , Sandra L. 1988 . “ Foucault, Femininity, and the Modernization of Patriarchal Power .” In Feminism and Foucault , ed. Irene Diamond and Lee Quinby , 61 – 86 . Boston : North-eastern University Press . Ben , Esther Ruiz . 2007
A Cinema of Movement
Michele Barker
enables us to consider new cinematographies emerging in documentary and artistic practice alike as a new kind of cinema of movement. Notes 1 Deleuze’s concept of surfing is introduced in relation to Michel Foucault’s shift from disciplinary
Girls and Young Women Resisting Rape Culture through YouTube Videos
Chloe Krystyna Garcia and Ayesha Vemuri
discourse—how we talk about sexuality—both empowers and weakens individuals and communities ( Fine 1988 ; Foucault 1990; Jones 2011 ). Media, however produced, sends important messages about sexuality that are either actively or surreptitiously marketed
In Girlhood Studies
- Published (Print):
- 01 Jun 2017
- Article Type:
- Research Article
- Pages:
- 26–44 (19 total)