inequalities and provide a basis for measuring well-being in the lives of girls. The capability approach can be interpreted as a non-ideal normative theory of justice and freedom, and, therefore, as a framework in which to theorize ethical and political
The Role of Bodily Integrity
Mar Cabezas and Gottfried Schweiger
Mary Beth Oliver and Tilo Hartmann
This article extends current theorizing in media psychology on audience responses to cinema by examining individuals' perceptions of meaningfulness. Specifically, it presents the results of a study designed to expand upon research on psychological and subjective well-being to experiences and memories of films that are perceived as particularly meaningful by viewers. Characteristics and themes of such films are examined and identified, as well as the specific emotional responses that accompany perceptions of meaningful cinema.
Lissa Weinstein and Banu Seckin
When Craig, an oft-humiliated and unsuccessful street puppeteer, discovers a portal into the body of John Malkovich, he finds that fusion with a live “celebrity puppet” offers a solution to the dilemmas of being human— imperfection, vulnerability, and death. In this fantastical context, the filmmakers raise questions about intention, identity, authorship, and the wisdom of elevating narcissism over Eros. Although a desire to transcend the limitations of the mortal body may be ubiquitous, the unique solution offered in Being John Malkovich is the apparent triumph of this narcissistic fantasy, rather than an acceptance of reality. This article first explores the film's use of the universal imagery of narcissism and then examines how technology, which allows widespread access to a visually oriented media culture, and changes in the meaning of fame have altered the expression of narcissistic fantasies, as well as the anxieties that accompany their fulfillment.
This article examines multiculturalism and gender equality in the light of ethnicity, gender, and agency so as to illustrate how gender equality is used as a marker of Finnishness in various youth work contexts. The data presented consists of interviews with youth workers (n=42) and ethnographic fieldwork carried out from 2003 to 2005. The results illustrate that questions related to multiculturalism have enhanced the visibility of gender equality in youth work. The identification of gender-based inequality is connected, in particular, to girls from migrant backgrounds whose education and well-being are of social concern. Youth work itself is often seen as gender-neutral and equality-based. However, this illusion of gender equality reflects more the ideals of equality which are not being concretized in the practices of youth work. Equality in this context is defined as a purely quantitative concept: the solution to any possible inequalities is, therefore, that everyone should be treated in the same way.
This article explores the question of what we are actually afraid of when we are scared at the movies. It is usually claimed that our fear derives from our engagement with characters and our participation through thought, simulation, or make-believe in fearful situations of the filmic world. These standard accounts provide part of the explanation why we are afraid—this article complements them by showing that we often literally fear for ourselves as well. Concentrating on an anticipatory subspecies of cinematic fear dubbed “dread,” the article argues that we often fear a negative affective outcome, namely our own fearful experience of shock and/or horror that usually ends scenes of dread. By looking at viewers' action tendencies and actions proper activated in dreadful moments, the article suggests that we appraise scenes of dread as potentially harmful to our current (and even future) psychological well-being. Dread thus turns out to be a specific kind of metaemotion.
Notes on the Ethics of Observational Documentary
This article turns to the Maysles brothers’ 1975 film Grey Gardens to problematize the philosophical assumptions at work in debates about objectivity and direct cinema. With a suitable picture of documentary objectivity we can avoid endorsing the claim that no film can be objective or the corollary that only documentaries that reflexively acknowledge the biases of their makers can succeed aesthetically or ethically. Against critics who have attacked Grey Gardens for its problematic claims to objectivity as well as theorists defending it for how it undermines objectivity, I argue that the film’s objective treatment of its subjects is part of its aesthetic and ethical achievement. In the context of observational documentary, being objective does not mean taking a purely dispassionate stance toward one’s subjects, but treating them without prejudice or moralism and letting them reveal themselves.
In the Shadow of War
Nikki van der Gaag, Sarah Henriks and Feyi Rodway
Conflict affects girls differently from boys—their rights are ignored, their responsibilities changed, and their lives altered forever by war. Girls face discrimination on at least two counts: because they are young and because they are female. We focus here on the changing nature of war and conflict and what this means for girls' health, economic well-being, physical security and protection, and also for their resilience and empowerment. We examine how girls are uniquely affected by, and respond to, conflict, its build-up and its aftermath. We assess the role of the institutions that have a duty to protect and support girls in conflict-affected states, and explore the reasons why policy actors do not take girls into account in their responses to violent conflict. We outline recommendations for action in terms of girls' education, harnessing girls' resilience and encouraging their empowerment.
The Europe of Soccer
Paul Dietschy, David Ranc and Albrecht Sonntag
Although history textbooks are highly revealing sources of what is considered worthy of being included in collective memory, they only tell half the story. The study of the non-official “parallel pantheons” of popular culture also contribute significantly to understanding patterns of perception and self-perception as well as mental representations of “Europe.” For more than a century, soccer, Europe's most widely shared social practice, has contributed to shaping perceptions of what can be encompassed under the term “Europe.” This article focuses on the “popular maps” of Europe that soccer has drawn over the last half-century and hints at the myths of cultural commonality that underpin them. It appears that while soccer represents a somewhat ambiguous metaphor for contemporary Europe, it can also supply interesting insights into the emergence of horizontal bonds between Europeans.
As we launch this journal, we think of the scene in Citizen Kane when Orson Welles, as the young Kane, reads the “Declarations of Principle” he has just written for his newspaper The New York Daily Enquirer. We do not claim the same aims—nor anticipate the same future—but we feel something of the same excitement. Journals are not easy to get started, but this one came into being in a short amount of time after we conceived its goals. A number of very fine journals are already published on film, but none, we feel, puts film (and the visual arts in general) into the dynamic and developing intellectual current of our time.
Katie MacEntee, Lukas Labacher and John Murray
Young people use activism to advocate for their sexual health rights and to counter the social, political, and environmental threats to their health and well-being. By fully integrating themselves into the process of civic engagement—by incorporating pieces of themselves—youth can bring about successful change. Young community members can use civic engagement to speak out about their perceptions of how they are aff ected by health-related issues or how they are stigmatized by the community. In doing so, they are able to counter the ways in which policymakers, often distanced from the ramifi cations of inadequate social policy, portray the issues (Shucksmith and Hendry 1998). An interactive photo project that took place at the 2010 International AIDS Conference in Vienna, Austria, shows how civic engagement or what we think of as speaking out can move beyond rallies and online video and audio messages directed at policymakers and into the realm of digital photography and body language. Surprisingly, in a digital world in which body language and body parts are continually at risk of being sexualized, this interactive project illustrates how digital photographs of girls’ hands can be used to speak out in a positive, creative, and empowering way about girls’ and young women’s perceptions of sexuality and HIV.