1,720,963 research outputs found
What Doesn't Kill You Makes You Stranger : the queer temporalities of Jessica Jones' survivor superhero body
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Something substantive enough to reach out and touch : the intimate politics of digital anti-rape activism
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Only the bad gyal could do this : Rihanna, rape-revenge narratives, and the cultural politics of White Feminism
Full text linkIn July 2015, Rihanna released a seven-minute long video for her new single, entitled Bitch Better Have My Money (more widely known as BBHMM), whose violent imagery would divide feminist media commentators for its representation of graphic and sexualised violence against a white couple. The resulting commentary would become the focus of much popular and academic feminist debate over the intersectional gendered and racialised politics of popular culture, in particular coming to define what has been termed ‘White Feminism’, in particular intersecting with debates about rape culture and the extent to which celebrity culture operates to secure consent to social relations of violence and inequality. BBHMM is not the first time Rihanna’s work has been considered in relation to these debates: not only has she herself been very publicly outed as a survivor of male violence, she has previously dealt with themes of rape and revenge in an earlier video, 2010’s Man Down, and in her lyrics. In this article, I read these two videos through the lens of feminist film theory, in particular focussing on the ways in which Rihanna’s output fits in a wider history of the figure of the ‘angry girl’ in rape-revenge cinema. In doing so, I explore how such representations mobilise affective responses of shame, identification and complicity that are played out in feminist responses to her work, and how these reproduce themes of surveillance and victim-blaming that potentially operate to silence women of colour’s experience of violence
Game of Thrones, rape culture and feminist fandom
No full textThroughout its run, HBO's adaptation of George RR Martin's A Song of Ice and Fire book series, retitled Game of Thrones (GoT), has attracted controversy for its depiction of nudity and graphic sex and violence. But a particular recent scene, in which a brother rapes his sister, caused outrage in media and fan commentary. This article considers the scene in question, and feminist responses to it, in the context of wider cultural debates about rape culture and the media representation of sexual violence. Following Sarah Projansky's argument that rape is a ‘particularly versatile narrative element’ that ‘often addresses any number of social themes and issues’, I read GoT and its online fan responses alongside literary theories of the fantastic, to examine how dominant rape culture discourses are both reproduced and challenged in fan communities. In particular I argue that fan narratives both reproduce discourses of masculinity and futurity that contribute to rape culture, but also provide a potential space for change through speaking out about silenced experiences of trauma
"Like a Stone in Your Stomach” : articulating the unspeakable in rape victim-survivors’ activist selfies
No full textEl arte femenino del fallo: queering a la audiencia feminista
Full text linkThis paper asks: in post-postfeminist times constitutes a feminist reading of the popular, and in particular potential futures are implied by the current „return‟ to canonical feminist practices of reading, and how might these apparently utopian futures work to silence cer-tain critical voices emanating from within the sphere of the popular – particularly queer and feminine voices? In answer to this question, it proposes a re-examining of contemporary „ab-ject‟ images of femininity in order propose a re-framing of feminist analysis of visual cul-ture. By reading fashion imagery alongside selfie culture and popular feminist narratives of the visual, it argues that the melancholy nature of the popular representation of femininity precisely dramatizes the impossibly divided position of female femininity in a masculinist world.Este artículo pregunta: en épocas post-postfeministas, ¿se constituye una lectura feminista de lo popular? ¿y particularmente, de los futuros posibles que están implicados en el actual “retorno” a las prácticas feministas canónicas de leer? Y, de ser así ¿cómo podrían estos fu-turos, aparentemente utópicos, silenciar ciertas voces críticas que salen de la esfera de lo popular, en especial aquellas queer y femeninas? En respuesta a esta pregunta, se propone una reexámen de las imágenes contemporáneas “abyectas” de la feminidad, con el fin de proponer un replanteamiento del análisis feminista de la cultura visual. En la lectura de las imágenes del mundo de la moda junto la cultura selfie y las narrativas populares feministas de lo visual, se argumenta que la naturaleza melancólica de la representación popular de la feminidad dramatiza precisamente la posición, imposiblemente dividida, de la feminidad de mujer en un mundo masculino
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