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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.

This article explores the gendering of reconciliation initiatives from the perspective of Bosniac women active in women's NGOs in post-war Bosnia and Herzegovina. I illustrate how established patriarchal gender relations and socialistera models of women's community involvement framed the ways in which some women's NGO participants constructed essential ethno-national and gender differences, in contrast to dominant donor discourses. This leads to exploration of how gender patterns embedded in the institution of komšiluk (good-neighborliness), particularly women's coffee visits, provided both obstacle and opportunity for renewed life together among ethnic others separated by wartime ethnic cleansing. Distinguishing between the two concepts, I show how, from the perspective of women's roles and experiences, “life together” may be all that displaced women want or expect out of “reconciliation” initiatives, and that even this may be beyond the capacity of many displaced people to forego talk about injustices and guilt stemming from the war.

This contribution is based on the difficulties, challenges and stimuli faced during the months of field research conducted in Tehran for my PhD dissertation on transformations of gender roles in Iran. Therefore, it means to rethink the three main issues I faced during my ethnography in in a context characterized by peculiar social and cultural dynamics: the difficulties and advantages related to my condition of a woman who works on a topic full of nuances and complexities; my ‘accented identity’ as a researcher born and raised abroad but Iranian by affiliation; and the methodological and epistemological implications and dilemmas arisen in attempt to apply techniques and theories learned mainly within the Western academia.

The paper examines the migration policy regime in Thailand using a human security lens. It suggests that insecurities experienced by migrants are partly caused or exacerbated by a migration policy regime, consisting of migration laws and regulations and non-migration related policies and programs, that pushes migrants into irregular forms of mobility and insecure employment options. These effects are worse for women migrants who have fewer resources to access legal channels while they are relegated to insecure employment in the reproductive or informal sectors. Using a gender and human security analysis, therefore, reveals how the migration policy regime, often informed by a restrictive national security approach, can clash with the human security needs of migrants by creating a large pool of unprotected irregular migrants with women occupying the most vulnerable forms of employment. In conclusion, it is suggested that this ‘en-gendering’ of human insecurities could be overcome if gender equality was designed into policies and guided their implementation.