Course Description

At the core of the course is the question how feminism has become a demonized and ridiculed “F-word” in an age when issues of gender and sexuality are at the center of constant, often explosive political debates. These debates often connect media representation and political representation but tend to do so in simplistic ways that bypass or distort decades of sophisticated feminist theory and practice. We will trace back such representations through the decades around case studies that encompass film, video, television and new media practices. The case studies come from the United States and beyond, taking into full account the global interconnectedness of media production and consumption as well as the transnational travel of feminist ideas. The main goal of the course is to evaluate how useful feminist thinking is to understanding the relays between media and political representation; and to develop a lasting critical apparatus to analyzing the politics of gender and sexuality in the media.


Sunday, October 27, 2013

Feminism in American Horror Story

In my opinion, American Horror Story has always tried to tackle hard-hitting issues such as gender and sexuality (just as Ryan Murphy tries to tackle them in his other show Glee). However, the past two seasons, while no doubt attempting to tackle some feminist issues, have seemed to fall flat in favor of storyline. No matter how much strength and ingenuity the female characters have, they always seem to fall victim to men. Lana Winters, for example, in season two was an eager reporter doing anything she could (like breaking into an asylum) to get a good scoop. She also happened to be gay. Instead of rewarding her for her ambitions, she was punished – raped, impregnated and almost murdered by a serial killer. Sister Jude also began as a strong character, running an asylum and looked up to as a figure of authority. She too fell fast, landing herself in the very same asylum that she ran placed there by the devil himself. Of course, the key message here is that these women were ahead of their time, being punished for their strength and authority. However, nowhere in the show does it indicate that we are now at that point where woman can be strong, where patriarchy is a thing of the past.   
             

This season of the show, however, has a different take on women. In fact, almost all the lead characters are women, witches who each have unique powers far superior to men. Zoe, the newest witch to discover her powers, has the ability to kill men just by having sex with them. And while Emma Roberts’ character fell victim to men and was drugged and raped at a frat party, she quickly evened the score and flipped the bus her rapists were riding in, killing them all. In just two episodes, the show has ventured into the motifs of female sexuality, mother-daughter relationships, fertility, aging and other themes that deal with women’s identity and their relationships with one another. In my opinion, the show has had a very feminist take so far and time will only tell if these characters will remain strong or fall victim to patriarchy.   

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