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“Undoing” Gender

Nexus of Complicity and Acts of Subversion in The Piano Teacher and Black Swan

Neha Arora and Stephan Resch

Michael Haneke’s The Piano Teacher (2001) and Darren Aronofsky’s Black Swan (2010) are films about women directed by men. Both films unorthodoxly chart women artists’ struggle with the discipline imposed on them by the arts and by their live-in mothers. By portraying mothers as their daughters’ oppressors, both films disturb the naïve “women = victims and men = perpetrators” binary. Simultaneously, they deploy audiovisual violence to exhibit the violence of society’s gender and sexuality policy norms and use gender-coded romance narratives to subvert the same gender codes from within this gender discourse. Using Judith Butler’s and Michael Foucault’s theories, we argue that Haneke and Aronofsky “do” feminism unconventionally by exposing the nexus of women’s complicity with omnipresent societal power structures that safeguard gender norms. These films showcase women concurrently as victim-products and complicit partisans of socially constructed gender ideology to emphasize that this ideology can be destabilized only when women “do” their gender and sexuality differently through acts of subversion.

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Andrew J. Ball

critical methods to show that the feminist potential of the slasher genre was co-opted and transformed by major studios to reinforce the norms of cis white masculinity. She introduces her concept of “the hegemonic imagination” to demonstrate how an

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Anxious Breath

An Autoethnographic Exploration of Non-binary Queerness, Vulnerability, and Recognition in Step Out

Lara Bochmann and Erin Hampson

fail to attend to. Discussing visibility and recognition and challenging norms through stepping outside also bring up, for us, the topic of resistance. Through our reflection, we concluded that persistence and resistance are inherent in non

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Ling Tang, Jun Zubillaga-Pow, Hans Rollmann, Amber Jamilla Musser, Shannon Scott, and Kristen Sollée

Sunset Boulevard demonstrate both the malleability of evolving cultural standards for aging stars and the agency that those stars could themselves bring to bear on social norms. Subsequent chapters explore other dimensions of star generation and

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“There’s nothing makeup cannot do”

Women Beauty Vloggers’ Self-Representations, Transformations, and #thepowerofmakeup

Michele White

researchers, including Susan Bordo (2003) and Brenda R. Weber (2007) , often interrogate makeovers and beauty culture because they can establish unlivable norms and control women’s self-conceptions and behavior. This includes the ways reality television

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Report

A Compassionate Look

Ryan Schowen

politics of closure. From the ravages of war, to climate change, to gender norms and expectations, to global migration and cultural integration, the exhibit explores the multifaceted concerns that preoccupy young Iranians today. Ali Tajik’s uplifting

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Groped and Gutted

Hollywood's Hegemonic Reimagining of Counterculture

Samantha Eddy

legacy of the slasher genre seems at odds with its origins. While the earliest movies were praised for their norm-defying developments, modern interpretations seem to fall prey to the very conventions challenged by the original films. The original

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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

globalized media industry, challenging programing flows from the Global North ( Allen 2003 ). From the perspective of Latin American audiences, telenovelas play an instrumental role in mediating everyday life and establishing sociocultural norms ( Acosta

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Handover Bodies in a Feminist Frame

Two Hong Kong Women Filmmakers’ Perspectives on Sex after 1997

Gina Marchetti

screen bodies as constrained by the legacy of colonialism, the dictates of the world economy, and the pressures of conforming to the Chinese Central Government’s expectations concerning heterosexuality and gender norms. Self-identifying as “Asia’s world

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Introduction

Visibility and Screen Politics after the Transgender Tipping Point

Wibke Straube

certainly an important task to consider the homonormative, nationalist norms embedded in the romanticized ideal of trans and queer visibility. It might be time to abandon mainstream visibility politics, to follow the argument of the editors of the anthology