Gender in Vietnamese Comtemporary Cinema: from the Issue of Prostitution

My paper is going to discuss the representation of female prostitutes in Vietnamese cinema in the context of the country’s embracement of globalization.  From a gender perspective, I will examine the impacts of the transition from a socialist economy to a capitalist economy on the culture and society in the late 1980s and 1990s. The question of how the drastic changes in the economic roles of genders have influenced the striking shifts of female stereotypes in cinema interests me.

The year 1986 marked a milestone in Vietnam history:  the country took up marketization and integration into the global economy after having keenly followed a socialist economy. The  State’s slogan “industrialization and modernization” has been spread over the population since the 1990s. This immediately brought not only crucial development but also caused cultural ruptures in the nation. Many films of the 2000s deal with the prostitution theme as an implicit indication of the aftermath of globalization. Women, the embodiment of the nation, have been displayed as the victims in this transition. Accordingly, prostitution metaphorically refers to the cost the country has had to pay for globalization, reflecting the social anxiety of a national identity crisis in the midst of a changing economy. Rather than focusing on the victimization of women, I examine how filmmakers make use of a frangible female body to claim their unstable positions as artists in the process of the reformation of cinema in the post-communism period.  I argue that male filmmakers use prostitution and HIV/AIDS and its consequences, one of the most threatening topics in the country, to blame the State’s responsibility in the national identity crisis in general and masculinity in particular, setting up a new idea of patriarchy to control women’s independence. By considering victims as prostitutes, they avoid their own responsibility as a “pillar of the family”, contributing to the physical and moral decline of women. Embracing feminism, I read prostitute-theme films against traditional nationalist and humanist readings that these male intellectuals manipulate for films of their choosing. I will take Bargirls (2003) and Street Cinderella (2004), by Le Hoang, and The Little Heart (2006), by Nguyen Thanh Van, the two state-invested films, as case studies.

Outline: Biphobic Tropes in Television

Bisexuality in American Television

                In my paper, I intend to present several profiles of bisexual characters in American TV shows, outlining the treatment they receive for their sexual orientation among their peers in the shows. I hope to focus primarily on Alice from The L Word, Piper from Orange is the New Black, and Brittany from Glee. While male bisexual characters are much less prevalent and not usually identified as such, I will discuss Frank Underwood from House of Cards.

I intend to argue that there are two discreet tropes written for bisexual characters. In the first, a character’s bisexuality is accepted and believed by the audience. Characters whose bisexual identities are not questioned are portrayed as aloof, confused, sex-crazed, and overly-emotional. I will focus on Glee and The L Word for this portion, and I will discuss how the characters are subjected to these stereotypes both by their fellow “in-world” peers on the shows themselves, as well as by the audiences who watch these shows. My analysis of this first trope will proceed in suggesting the need for more serious portrayals of out-bisexual characters, and it will criticize the usage of an “lgbt inclusive” image on the part of networks that do not treat bisexual characters as they do other queer characters.

The second discreet category examines the unacknowledged bisexual—character’s whose onscreen behavior indicates their attraction towards both men and women, but whose audience believes the character to be either gay or straight (usually gay). Rather than the first category, which is a result of uninformed or biphobic writing and can be corrected easily if the incentive should exist, this second category is an inevitable byproduct of the “coming out” storyline and will not disappear until the frequently used plot point does as well. For example, I will examine in depth the relationship Frank is revealed to have with an old college fraternity brother in House of Cards. The shock value in the revelation of this relationship rests on the assumption by the audience that Frank must be gay. In order to make this assumption, we must necessarily invalidate the genuine, self-professed feelings Frank has had with various women in previous episodes. I will also discuss Orange is the New Black, and the seeming-inability of any character on the show to consider the possibility that Piper may be attracted to men and women, despite her own self-stated attraction for male and female characters.

In constructing the frame of this paper, I will draw heavily from The B Word: Bisexuality in Contemporary Film and Television. Maria San Filippo uses this book to compile almost every article relevant to the topic, so I had used it as a primary resource in addition to the programs I will be citing. I intend to supplement this with additional articles as needed.

I hope to draw different conclusions from the two discreet categorizations of bisexual representation. For the first trope, I hope to conclude on the need for bisexual characters that do not play a stereotypical or comical-relief role and the impacts these have on representation for a group hard to “see”. For the second, I will argue that the elimination of “queer as conflict” plotlines is necessary not only for a progressive depiction of queer characters, but also as a necessary prerequisite for the serious depiction of any bisexual character. I hope to make a final conclusion that the alleviation of misogynistic standards in the television industry is necessary for the elimination of biphobic programming by analyzing the push for all bisexual characters to “really” be attracted to men, regardless of their own gender.

-Cara Fassino

ABSTRACT: Gender Inequality in Popular Films

It's not a surprise that females are grossly underrepresented on screen & behind the camera in popular films and television programming. At USC, I work under an Annenberg professor, Dr. Stacy L. Smith, and I help her with her on-going research: Media Diversity and Social Change. We conduct a yearly content analysis research study focusing our analysis on how gender is portrayed in the Top 100 Grossing Films. We also analyze gender portrayal in family films, prime-time television programs, and children television shows.

The main intention of my paper is to analyze the under-representation and misrepresentation of females through films. Gender stereotyping is an inherent problem in today's entertainment landscape. Popular films are showing gender inequality through their stories and character portrayals. These depictions of females in popular films goes beyond merely creating stereotypes. The lack of exposure of females in popular films has contributed to the growing social problem of gender inequality.

I will proceed with my argument by focusing on the on-going research that I currently am working with Dr. Stacy L. Smith and her brilliant research team. I will describe, in detail, about the method we use in our study, and how we code the films and analyze the data. From each film, we code over 40 different variables, and we focus on the unitization of characters that are either speaking on screen or named on screen. From there, I will proceed my argument by focusing on the findings of the research. Because we analyze over 40 different variables per character, we can link and show more reasons as to how and why females are significantly underrepresented on screen & behind the camera in popular films. For example, "Females in the top-grossing films of 2012 are more likely than males to be shown in sexy (i.e., tight or alluring) attire (M=7%, F=31.6%) or partially naked (M=9.4%, F=31%)....[and] [f]emales' age is related to on-screen hypersexualization" (Smith et al.). The variables I will be focusing on in association to gender is speaking role, age & sexualization, occupation, STEM jobs, and lastly, off camera we study gender prevalence behind-the-scenes.

I will not be solely relying on this research study as my only methodology in analyzing this subject. I plan to expand out of not just analyzing gender inequality in popular films from the United States, but I will develop my paper into also focusing gender inequality in popular films from China as well. I believe it's important to see this type of research on a global scale. Obviously, I can't analyze all of the countries within a 8-10page paper. Thus, I chose to focus this comparison with just one country, China, a country that I have lived in for over 15years and is one of the top 10 countries in the main film industry.

The big picture of all this is to show how the portrayal of females in popular films has contributed to the growing social problem of gender inequality. Whether on screen or behind the scenes, the story for females has not changed. Movies should be able to accurately depict their female audience. I plan to conclude my paper with driving the message of how media should enforce toward the screen and toward popular content that presents women and girls equally and powerfully.

Topic: In my essay I plan to explore and show how television and other media outlets, such as Facebook, twitter, instagram have created a misleading image and message of beauty and body image in society that shape many young girls perception of what is beautiful. I want to also explore how television's portrayal of women has played a major role in creating long-lasting expectations and status quos on the role of women as compared to men. Basically exploring tv's impact on women in creating superficially and societal walls that they still have yet to break down.

Some ideas

Ive noticed how much stronger society judges and shames women seen throughout numerous scenarios as compared to men. For example, watching HBO drama Hung never did it cross my mind to judge him or shame him for essentially being a prostitute. If it were a women instead in his situation, even with the same compelling background story of doing whatever needed to support her family, society like my self naturally have less sympathy and almost take on a state of detachment. This negative connotation and strong disapproval of women acting as "sluts" and using sex to lure men and cash is so strongly rooted and taught within American society and norms. If you think about, for many centuries especially the images of women in media throughout the 50's and 60's women were portrayed as moral and proper whose main goal is to find a husband and start a family. Although it is more than obvious to see women are no longer treated the same way today, it seems however  traces of outdated norms continue to influence and shape people even today keeping these double standards alive. 

Body Image and Sexuality

tv and media still feels need to within forward story lines clearly showing women single or in complicated relationships a reflection of the diversity within today's society, its use of unreallistic women and emphasis on glamor by tall, white and perfect actors as the lead characters as well as other media outlets, such as Facebook, twitter, instagram have created a misleading image and message of beauty and body image.

tv and other media create and represent women as lead characters but this does not always mean it is progressive towards feminism. The show girls for example, shows very modern and addresses situations and conflicts that attract young people who understand and watch for enjoyment. Other than its humor with its shocking explicitly, the show however portrays women as nothing admirable as they continue to be unhappy and continue to make choices over and over again that keeps them unhappy such as their constant return to men they don't even want to be with or enjoy sexually.

Conclusion: Television is a visual representation of society and an outlet that can be useful to create change, however television is not real life and many young women especially grow up being influenced by what they see on tv and in media. This has created a disformed image of beauty just adding to body image problems.

The Unruly Woman on Television

The Unruly Woman on Television

The main intention of my paper is to investigate the phenomena of unruly women on television - mainly through Roseanne Barr and Lena Dunham. What makes a woman qualify as an unruly woman? What makes these two women specifically qualify as unruly women?

Both women are actresses and writers of their own characters and they both approach the typical sitcom woman in different ways - whether it be wife, mother, or daughter. In order to truly understand why these women make the creative decisions they make in regards to their own portrayal of a woman on a TV show, I will be looking at sources that critique and/or praise the shows (and for what reasons) as well as looking at interviews to get opinions from the women themselves. 

There are many categories that make an unruly woman, but most of all what makes an unruly woman is that she doesn't fit into the categories of what society considers as gender norms that women should adhere to. Much of the criticism around Roseanne Barr and Lena Dunham stems from (1) their characters not adhering to a typical TV representation of a woman and (2) the women themselves not adhering to society's gender norms.

Roseanne pushes the envelope through her character by not playing the stereotypical sitcom mom. Through the character of Roseanne she portrays the exact opposite of a feminine woman; she introduces the unruly woman to the world and uses it as her mode of resistance against mainstream society, which is always so quick to hire “overmedicated, painted-up, capitalist whores claiming to be housewives” (Barr 7). 

Lena Dunham also resists ideals with her character on the show by making her character reflective of herself in real life. What makes "Girls" so different from "Sex and the City" is that Girls is based off of Lena Dunham's real life. The show has a bold sense of reality that Sex and The City never did, in the words of Lena Dunham, Girls addresses that with "post recession and with the rise of social networking, there is a different kind of woman who wants something less aspirational and more reflective of her reality." This is exactly what Girls gives it's audience and in this way, by not following in the steps of the ever so popular Sex and The City, Girls is deviating from the often "glamorously portrayed" norm.

Both women are considered unruly outside of their shows in regards to their appearance. Roseanne, being overweight, exemplifies excessiveness and "taking up space," both things being considered unfeminine. Many critiques of Roseanne's appearance are met with distaste, much like Lena Dunham. On the show, Lena Dunham is met with distaste over her excessive sex scenes in which she has no qualms over showing her body. And outside the show Lena Dunham's appearance has often been described as "disgusting," also in regards to her weight. What makes the appearance of these women so unruly is that they don't comply with society's idea of consumption - that women should consume into what the media is telling them a woman should like. 

Overall the outcome of this paper is to expose how women are looked at when they resist the norms, specifically here in the case of two women writers of their own TV show characters. Should these women continue with what their doing? Could this spark more women writers to do the same? Does more women writers in the TV industry mean better portrayals of women? This topic and these questions will be addressed through many aspects including but not limited to: media, gender, sexuality and feminism.

Abstract: The Makeover in Fictional Films vs. Nonfictional TV

            In my paper I plan on looking into the similarities and differences between the representation of makeovers in fictional movies and non-fictional television shows. My intention is to unpack the way in which fictional makeovers are often seen as fun, comedic, and overall acceptable, while in the context of reality shows (particularly surgical ones), they are frowned upon. I aim to expose that both represent the same primary idea- that in our society, a woman’s appearance is what determines her personal identity and how she is perceived and treated by those around her.

            To do this, I will focus on movies such as Mean Girls and Clueless and television shows such as Extreme Makeover, The Swan and Bridalplasty. I think that these will be good examples of how in fiction, average girls get made over with more revealing clothing and more makeup and miraculously become popular amongst other girls, desirable by men, and seemingly more confident in themselves and their place in the world. The reality shows I’ve chosen will work to display how these seemingly comedic fictional makeovers are very real and very extreme. Women see models in magazines and on billboards and are made to believe that they need to surgically alter themselves to be worthy. Consumerism, the male gaze and the body as power will all go into this argument.

            The projected conclusion of my paper is that society has caused women to feel the need to change their physical appearance in order to be “better” in the eyes of other women, men and themselves.  Whether in harmless fictional films that are widely popular, or in nonfictional television that is scrutinized, the same idea and representation of the female body is represented. 

abstract - where my girls at?

Jayne Sullivan

Abstract - where my girls at - a look at female showrunners and the characters they play

11.15.2013

I am going to examine the portrayal of females in television, specifically domestic and workplace sitcom, and the creators behind them. I will specifically look at Girls, created by Lena Dunham, and The Mindy Project, created by Mindy Kaling. Along with gender I will touch upon race, class, and privilege and how that fits into each shows success and criticism.

My Question: How did Mindy Kaling and Lena Dunham get their success as female showrunners in a male dominated industry and how do they represent woman both on and off screen in a post-feminist era? Do they have a responsibility as women to represent female characters in a positive light in their shows? Does their work mark a transition period in the post-feminist/post-network era? Along with gender I will touch upon race, class, and privilege and how that fits into each shows success and criticism.

I will begin by explaining how each creator came to their success and how they got to be showrunners. Then I will discuss how they represent themselves in the media as woman and how they both clearly identify as feminists, why, and what that word means to them. I will look at how they represent woman on and off screen. Additionally, I will discuss how the different networks HBO v FOX play a role in content and creative control.

Then I will talk about the onscreen representation of these two women in their shows. I want to explore “the unruly woman” type and what that means for women in comedy and how it fits into both of these shows.

I will conclude by asking to what extent do Dunham and Kaling have to represent woman well? Is there is a burden of representation because they are two of the few woman to succeed? I will discuss where the industry is going and if there is room for more female showrunners and what shows like Girls and The Mindy Project means for the representation of woman and what they mean for a changing television industry.

Abstract: Enlightened, Hummingbirds, and Women Helping Themselves

Not a lot has been said about Enlightened. In this paper I intend to discuss the implications of the short-lived HBO series, and whether it works as an effective counterpoint to recent post-feminist television such as Girls and Sex and the City. I aim, if possible, to explore audience reaction to the show, which despite substantial critical acclaim, was subject to much lower viewership than other more obvious post-feminist prestige programming. Is this a reflection of the content or quality of the show? Neither? Both? And what, if anything, does this say about our desire as consumers of post-feminist media?

Furthermore, I plan to examine Enlightened protagonist Amy Jellicoe’s place in carving out new space in the representation of women on television. Emily Nussbaum of The New Yorker has written extensively on the “hummingbird” archetype. Nussbaum uses the “neutral” term to refer to spunky, defiant, idealistic women in leading roles who, by refusing to succumb to societal norms, at times come off as annoying to those around them. This is a trait Nussbaum finds refreshing, and in which Enlightened’s Amy she sees an exemplar. I will trace Amy’s growth, from her mental breakdown at the show’s outset to her role as corporate whistle-blower as the series evolves, with the intention of assessing whether the “hummingbird” marks progress in the representation of women or if it is merely retrograde.

Lastly, I hope to delve into the show’s relation to self-help culture. Enlightened takes its name from the Eastern-inspired philosophy that Amy adopts after her blow-up. While her new-found perspective is instrumental in her growth, in spots the series seems to parody such naive positive thinking as a means of affecting change in the world. In a larger context, I want to explore how this culture of recovery is gendered, and whether Enlightened celebrates this lifestyle or offers a useful critique of its shortcomings as a means of empowerment.

Given its relative newness there is very little (or no) scholarly work on Enlightened of which I’m aware. As a result I’ve looked to various articles of television criticism focusing on the series and the larger phenomena of evolving representations of women on television. The aforementioned work of Nussbaum has been among the most helpful. For perspective on self-help culture, Wendy Simonds “Women and Self-Help Culture: Reading Between the Lines” and Elayne Rapping’s “Culture of Recovery” which trace the rise of the movement from a feminist perspective have been very useful. I am also reading relevant scholarly work as I find it. I hope to combine this research with close analysis of the series itself to begin to answer the many questions Enlightened poses.

Miley Is a Feminist, She Says

Hey Everyone,

Check out this link:
http://www.nydailynews.com/entertainment/gossip/miley-cyrus-biggest-feminists-article-1.1517413

So Miley, unlike Beyonce and Gaga does blatantly call herself a feminist. While I'm glad she isn't afraid to use the world like her pop star allies, I'm not sure Miley understands what feminism truly means and aims to achieve. 

She says during the radio broadcast, "Guys get to show their t---ies on the beach, why can't we?" . While  I guess in a general sense she's right that feminism aims at equality,the freedom to walk around naked isn't an aspiration of feminism. She also says in the interview "girls are all beautiful." While that's a heartwarming and positive message, the way she equates bodily representiation with freedom is problematic. Sorry Miley, but showing our t***ies on the beach doesn't get us ladies any closer to equality on a political level. 

Miley and Rihanna: The New Carnival Attractions

The main intent of my CTCS 412 paper is to investigate how the post-modern trend in popular culture , specifically in regards to Miley Cyrus and Rihanna, appropriate lowbrow tendencies and/or foreign cultures in what Mikhail Bakhtin calls “grotesque” ways. This appropriation is a reversal of the popular historical trend. Whereas the poor/isolated class used to distort and display the body against the status quo of the upper classes for entertainment purposes, the 21^st century pop stars now distort and display their bodies in the same low-bro tendencies and appropriate oppressed cultures for entertainment purposes. This paper will explore how this reversal functions within a post-feminist/neo-liberalist framework. 

The argument will begin with the application of Bakhtin’s theory of carnivalesque to the current day fashion/performance trends in popular culture specifically with regards to two highly successful artists, Miley Cyrus and Rihanna.  The paper will then argue the negative side effects of this appropriation in regards to neo-liberalist aims of society which culminates in stealth stratification.

The sources used will first and foremost include Mikhail Bakhtin’s Carnival Theory and Louise Owens’ Work That Body": Precarity and Femininity in the New Economy a study which exemplifies post-feminism's putative "freedoms.” Bahktin’s theory will be compared and contrasted with Miley Cyrus’s VMA performance, her music video for “We Can’t Stop” and Rihanna’s music video “Rude Boy” to illicit the reversal of the lower/upper class appropriation trend. 

The projected conclusion is that this reversal of appropriated behaviors may appear beneficial to women and the lesser represented races, but in actuality these groups aren’t gaining any true power.   The outcome of these representations is a false sense of empowerment that leads to a deepening of stratification in gender and race.

Quality TV Wives

My CTCS412 research paper stemmed from Anna Gunn’s Op-Ed article in the New York Times about her role as Skyler White on AMC’s Breaking Bad. She discusses her surprise at viewers’ prolific hatred of Skyler and asks if this stems from Skyler’s refusal to behave like an archetypical wife. I am going to expand this discussion by incorporating other quality television texts such as Mad Men, Homeland, Hung, and Game of Thrones. I am going to argue that these quality television wives are unlikable because of their refusal to play the archetypical role as a mother and wife.

First, I will outline the general and historical representation of the wife in television and then define quality television and how that influences the re-gendering of characters specifically wives. Then use Breaking Bad to discuss Skyler White’s complicated representation as a wife and mother and why it is considered unlikable, which is related to our feelings of our protagonist and anti-hero, Walter White, who is praised by viewers despite his immorality. I will analyze Skyler’s role in their marriage and representation as a wife and how that relates or opposes Walter’s representation as a man and a husband. I'll also analyze Betty Draper in Mad Men, Jessica Brody on Homeland, Jessica Haxon in Hung, and Catelyn Stark in Game of Thrones to discuss how and why their role within the show becomes an obstacle or hinderance to viewers and the text itself. If possible (probably not) I will also discuss Nancy Botwin in Weeds and Jackie Peyton in Nurse Jackie.

I am going to use texts such as Anna Gunn’s Op-Ed and other popular magazine articles in Esquire, The New Yorker, and The Washington Post that talk about these shows and the representation of strong women on television. I will use Media Depictions of Brides, Wives and Mothers a book that outlines the representation of these roles in several essays about archetype roles in television, media coverage of Sarah Paulin and Michelle Bachman as mothers, and online commentaries on brides and mothers in narrative television. Challenging Images of Women in the Media by Teresa Carilli will provide background to support the claims I make about these TV wives. Articles by Diane Negra and Angela McRobbie that we've read in class will support my discussion of re-gendering and representation in quality television. Finally, Quality TV: American Television and Beyond by Kim Akass and Janet McCabe will help define and discuss quality TV. 

This discussion of quality TV wives incorporates a bigger discussion about gender roles, representation and the media. Through my discussion of these specific texts I will elaborate on the implications of these characters’ dislikability, such as it being a reflection of a strongly engrained perception of gender roles in the American family. My outcome will touch on the nostalgia we have for the stereotypical, normative family revealed through viewers’ general aversion to the complicated, strong wives I use as my examples. 

Women in Comedy and Labeling- Paper Topic, would love some advice!

Project Question: Can you be commercially successful and call yourself a feminist?

Paper Question:  Women in comedy: Race, Sexuality, and Feminism

Can you be funny and be a “something” (lesbian, feminist, woman of color, liberal democrat, etc.) or should you sacrifice your self-identification to be able to play all parts?

3 Main Topics

Race:

The SNL Issue- why have the producers and cast members been saying that they “haven’t found someone ready for the task” concerning women of color on the show when there are literally hundreds of capable women of color in the entertainment world?  Have they intentionally chosen not to cast a wide enough net?

Why are we still dividing comic sketches to fit antiquated racial demographics? Comparing the intended audiences for Key and Peele vs. John Stewart and Colbert.  Why are there no men of color hosting late night or political talk shows?  Why do all female hosted shows end before 5pm?

Sexuality:

Ellen and Kate McKinnon- do they fall into a trap of having to be out to be respected? Why do we just presume that a certain amount of men in comedy are gay, but it’s a big deal if one is lesbian?  Why is that a historical trend?

Feminism:

Tina Fey, Amy Pohler, Ellen Page, all funny women who have deemed themselves feminists.  This seems to work fine- they are among the highest paid comedians in TV.  So how do they manage to fend off the negative criticisms often aimed at pop stars (Gaga, Miley), film makers (Diablo Cody, Catherine Hardwicke), writers (Stephanie Meyers) and politicians (Hillary Clinton, Wendy Davis)?  It TV acting alone in its category because we have made more strides thematically?

If anyone could give me advice on how to narrow my topic/ make a more developed thesis I would love the input!

Rizzoli & Isles' Gay Panic

Chelsea Gibbs
CTCS 412
11/15/13

(How a Gay Panic Turned an Ostensibly Feminist Show into a Misogynistic Mess)

What do you propose to argue in this paper?
What is the major pitfall of having one of your main characters be “a strong woman”? Someone might interpret her as gay, which according to some demographics, is the most horrible thing that could ever be said about a fictional character. When Rizzoli & Isles premiered in 2010, a predominantly-lesbian audience popped up in light of the show’s hot-n-heavy subtext. It immediately became a focus in interviews regarding the show, where it has been insistently shot down by the actresses, showrunner, and (in online comments) the show’s target audience of middle-aged women in middle America. Since this fallout during the first season, it would seem that several steps have been taken to “de-gay” the show. In doing this, what started as a feminist text has devolved into exactly the opposite. I suppose in addition to arguing this theory (gay panic→misogyny), I’d like to question a show’s obligation to educate or indulge its fans.

How will your argument proceed? Main structural steps?
-examples of shows which have been influenced by outspoken fans (Glee, Xena). wink/nudge cs. condescension (advertising for Rizzoli & Isles is shamelessly dripping with queerbait, but the episodes themselves try to distance the characters from that as much as possible)
-audience response: gay!
-alternative audience response: not gay!/how dare you
-show's response to the responses/interviews
-how the gay panic is reflected on the show.

Methodology: the show itself, interviews with actresses Sasha Alexander and Angie Harmon (Conan O'Brian, The Advocate, Jimmy Kimmel, TV guide), comment boards/facebook page, articles waiting to be discovered

What is the projected conclusion/outcome? How will this paper contribute to large discussions in the fields of media, gender, sexuality and feminism?
The projected conclusion is that misogyny is preferred over “a-woman-don’t-need-no-man” mentality but also over just implied homosexuality. In its four-season run, the show has gotten increasingly silly, the tone has gotten increasingly sexist, and the relationship between the title characters has become increasingly shallow. In a broader sense, I hope this addresses the issue of ethics in programming: isn’t it bad enough to lure in a minority demographic with false advertising? Do we have to then also go the extra step and rob these characters not only of their closeness, but of their respectability as well? In doing this, the show only works to reinforce the condescending notion that all women want (even “strong” ones) is a man to worry over or solve their problems—all while hiding under the guise of a feminist text, which makes it all the more insidious.

Feminist Representations in Music Genre

Thesis/Purpose: My paper will be explorative in nature - addressing genre-specific feminist themes within the areas of alternative rock, hip-hop, electronic dance music and pop.

First, my paper will provide context by shaping exhaustive definitions of each musical genre for the reader.  This section will delve into the components of each genre's unique fan culture as well.

Next, feminist themes within each sub genre will be discussed in sections. These sections will be organized by subheadings pertaining to each genre. Dissections of each genre will work to answer the following questions:

• Who are examples of major post-feminist icons within this genre, and what qualifies them as such?
• What are some gendered issues that pertain to this genre specifically?
• What does the future look like for women who create works within this genre? What does the future look like for women who are fans of this genre?

The bulk of my paper will include self-analysis of original sources and will also take into consideration public discussion (i.e. blog posts from feminist publications on the subject) of the issues in question. Scholarly sources will included in my paper's first section in order to give the reader an accurate idea of each genre's specific characteristics.

Abstract: Teenage Films and (Post)Feminism

My question:

To what extent are progressive female representations embodied in the teen films Mean Girls and Ten Things I Hate About You and how does the teen genre engage with discourses of female choice and identity formation?

My main intention with this paper is to explore the female teenage representations in the films Mean Girls and Ten Things I Hate About You in order to conceptualize the ways in which representations are complicated by the cult teen film and the postfeminist climate in which young girls are growing up in. Both film texts have received both critical acclaim and popular success and have a substantial positioning in the milieu of contemporary teenage films. They also both present ambiguous central female figures and thematic developments that are often perceived as progressive; Cady’s trajectory in Mean Girls leads her to discover her ‘authentic’, unassuming self through her troubled friendships with the ‘plastic’ clique, while Cat’s persona in 10 Things I Hate About You is perhaps one of the only characters explicitly coded as feminist to grace the screens of teenage films. Yet both of these representations harbor contradictory elements and aspects that actually work to undermine their progressive tenets. To this effect, I want to propose that through close analysis of the respective representations in these texts, they are figured as much more retrogressive and problematic than it may appear at a first glance. Moreover, through these figures I want to explore how the teen genre as a whole mobilizes discourses of female identity formation and choice (particularly as pertaining to gender and sexuality) that have become increasingly complex with the onset of postfeminism. Questions of when sexuality is deemed appropriate in a teenage context, choices and types of sexual behavior deemed appropriate, representations of feminism and postfeminism in the context of high school, and how teenage girls are expected to navigate these minefields of what is and isn’t deemed acceptable (which these film representations complicate) are all issues I look to discuss in the context of the close textual analysis within my paper.

I aim to structure my argument moving from the specific to the broad; in other words, my analysis of the two film texts will provide room for broader conclusions about how the teenage film genre engages with or disavows discourses of feminism and postfeminism in its female representations. Essentially, I want to uncover how the genre attempts to mask regressive and patriarchal representations within figures that appear innovative and inspiring to audiences, particularly teenage viewers susceptible to being exposed to these depictions. I want to explore the protagonist of the texts and the broader thematics that engage with gender and sexuality in each text before drawing on wider discourses of the teen genre and the onset of postfeminism (though theoretical underpinnings and scholarship will naturally be present throughout). My methodology thus will range from the consultation of relevant theories on the onset of postfeminism in media, female representations in teenage film (especially in terms of connections with feminism and postfeminism), and close textual analysis of the two films in question.

            In terms of larger scholarly discussions, my paper can be situated within the relevant but somewhat under-explored realm of feminist and postfeminist media representations within the teenage film genre. This is a genre that engages actively with sexuality, gender, and choice and pertains particularly to younger viewers actively consuming and repositioning these representations within their own lives as they shape and discover their own identities and sexual preferences.

Tina Fey

Sasha Stock

11/14/13

CTCS 412

Though great progress has been made, twenty first century United States of America is still “ a man's world”. Our male dominated society is especially prevalent in the world of comedy.... a place where comedians are separated as “female comedian” or “comedian”. Brave funny women like actress Mary Tyler Moore, Joan Rivers and Gilda Radner have paved the way for future talent Tina Fey to continue to revolutionize the world of comedy.

Tina Fey's work as an actress and writer has significantly impacted the world of television, film and comedy. She was both a cast member and the first female head writer on Saturday Night Live, the writer and actress for the film Mean Girls and the writer and main star in the television show 30 Rock. Through Saturday Night Live, Mean Girls and 30 Rock, Tina Fey brings female issues to the screen in a comedic manner. These topics include gender inequality, workplace struggles, societal pressure to get married, female competition, women having to downplay their intelligence for male approval, female representation on television, the societal view that women cannot hold high power jobs and much more. The realness and imperfections of her characters makes them relatable and allows the issues to resonate with the audience. The humor and intelligence of her works gives female issues visibility which creates the perfect platform for female progress.

Mad Women: A Closer Look at Carrie Mathison

Mad Women: A Closer Look at Carrie Mathison

Definition and Ideology of Madness 

-       “The fact that they are defined as sick people, moreover, makes it possible to control their behavior, and often to confine them; even though they have done nothing illegal and would otherwise have to be allowed to go on living their own messy lives and sometimes making a nuisance of themselves.”
-    Definitions of Madness – Foucault

o   Madness is not a natural, unchanging thing, but rather depends on the society in which it exists. 

o    Various cultural, intellectual and economic structures determine how madness is known and experienced within a given society.

o   Example – Shakespeare and King Lear

§  the fictional character of King Lear reveals much about the role of madness in society.

Thesis - Through analyzing women in television, it is evident that women in positions of power are represented as mad. Specifically, looking at the character of Carrie Mathison from Homeland this paper will analyze the representation of mad women in politics. 

Madness in Film

-        Why are so many women protagonists crazy?
-        “Their flaws are fatal, or at least obviously self-destructive, and they seem designed to invite censure. Time and again, we, the audience, are cast in the role of morally superior observers to these nut jobs. “

-        “The more astute and capable women are, the more likely it is that they’re also completely nuts.” (The Atlantic)

- This is seen in many shows like Parks and Recreation, The Bridge, and Homeland.

Homeland

Professionalism?

-     Carrie is portrayed as highly unprofessional - risk of national security which is unrealistic
-   “Carrie is supposed to be brilliant, but she is also constantly on the verge of emotional breakdown, she has sex as part of her job, and she does not eat. And this is one of the rare examples on TV of a woman who has excelled in her career."

Tied to Sexuality

-    Even a women in the CIA is hyper sexualized. The main sex scenes involve Carrie. 
- Her unprofessionalism is tied to her sexuality
-  “Increasingly they see woman depicted either a sex objects, or worse, sexualizing themselves. In most cases, even when women are depicted as successful career women, their sexuality is still the focal point of their being.” (IBTimes)

Women and politics

-       “Cast women in politics as vacuous, unprofessional, and overambitious” (IBTimes)

-       What does it say about women in positions of power?
-    Is this the bar that is set for the representation of women in politics?

Flaws Ties to Strengths

-    Carrie would not be successful without these flaws and without her being crazy. 
-   “What makes Carrie such a superb intelligence agent is also her Achilles’ heel, and her journey over the course of the first season of Homeland was one of frustration, error, and ultimately being right” (Daily Beast)

Comparison to Male Counterparts

-       “The crazed antics of male characters like Don Draper, Walter White or Dr. Gregory House are reliably treated as bold, fearless and even ultimately heroic” (NYT)

 Realistic?

-   In an interview with two CIA agents they prove that the character of Carrie could never exisit in real life. Why in function can women be depicted in this way?
- The representation of women in the CIA is incorrect. 
-  “Ultimately, it is entertainment".(Telegraph)

Explain bi-polar disorder – PSA for America?

-        “And yet for all that, I feel the show’s creators, writers, and producers, and Ms. Danes, have done us all a public service: perhaps, with the show’s glowing reception, Americans can finally talk openly about bipolar disorder.” (Daily Beast)
- Even though Carrie is an unrealistic representation of women in national security  she is a powerful representation of a person suffering from bi-polar disorder, which is not portrayed in main stream media.

Conclusion

-       Women in positions of power are portrayed as crazy while there male counterparts are not

-       Co-creator of Homeland explicitly states that they exploited sexism

-       Will this ever stop?