Media representation of women

Amy Lowell was long ago thrown into the heap of amusing literary footnotes. Critical perception of a writer is one with the critical construction of that writer. No matter how obvious the point is to a post-structuralist crowd, it is in examples such as the moulding of Lowell’s posthumous image that the monstrous injustices we are capable of become apparent. But consider the difference between Dickinson as spinster recluse, or as “Vesuvius at home”. Consider the difference between Woolf as tormented angel, or as fun-loving criminal (see the ‘Dreadnought Hoax’). Now consider Lowell as a fat cigar-wielding lesbian joke, or as a universally seductive, awe-inspiringly astute, creatively exceptional, and absolutely compelling Diva.
....................
“Amy Lowell, Diva Poet”. FWSA online. published 21 Nov 2013.
Review of:  Melissa Bradshaw. 'Amy Lowell, Diva Poet'. Farnham and Burlington: Ashgate, 2011.

"Women, Media and Resistance in Contemporary Indian Cinema" -- Essay in The London Film and Media Reader 3, 2015. An essay that examines the representation of women in performance in Mumbai and Bengali Cinema... The essay discusses in detail how films are in constant negotiation with how "media images" construct and deconstruct the representation of women and also their resistance...

This contribution focuses on the double process of youthification and feminization of traditionally male-dominated genres found in a wide range of popular media forms over the last ten years. The specific object of this investigation is represented by those TV series that can be classified as sci-fi, action or as hybridization of the two genres.

Male teenagers and even pre-adolescents have frequently featured as leading characters in these as well as in genres such as fantasy, spy, martial arts, superheroes, etc. (from Karate Kind, 1984, to Stranger Things, 2016-present, to name but a few). Nevertheless, the youthification process of recent audiovisual productions seems to rely mostly on female characters. In the wake of the success of the book series and movie sagas of Hunger Games (four movies released between 2012 and 2015) and Divergent (four movies between 2012 and 2017), the presence of the young action heroine has extended far beyond the boundaries of ‘young-adult dystopia’, giving birth to a ‘new type of revolutionary leader’ in its own right (Brown 2015, 170).

By using an intersectional approach, I aim to investigate the reasons for the rise of young female leads in traditionally male dominated narratives and the forms of their representations. I build on contributions on youth literacy and media that highlight how adolescents and adolescence get imbued with symbolic meaning (Wolf et al. 2010), ‘serving agendas that extend beyond the interests of youth’ (Petrone et al. 2015, 516). My research questions are the followings: if adolescence functions here as a metaphor, what is the specific meaning of female adolescents in the TV genres being considered? How are these figures of young warriors constructed? Can a precise politics of representation be identified? In order to answer these questions, ‘old’ TV series, such as La Femme Nikita (CTv, 1997-2011, Canada) and Alias (Abc, 2001-2006), are examined through discourse analysis and compared to the more recent The 100 (Cw, 2014), Orphan Black (Space, 2013-2017), and Hanna (Amazon Video, 2019).

Based on the result of the analysis presented in this contribution, I claim that a recurrent pattern is mobilized by sci-fi and action narratives centered on young female heroines, which does not apply to male characters: a young girl is trained by a man, or by an entire male system, in order to become a warrior or assassin, but this process paradoxically turns her into a ‘real’ woman. This is in line with previous analyses (e.g. Schubart, 2007), and shows that growing the adolescent stage, for young heroines, means developing a normative femininity, accepting limitations and responsibilities within the terms of their heterosexuality.

Main argument here is that TV productions such as The 100, Orphan Black and Hannah present groundbreaking elements in the construction of young female leaders, signaling that we have entered a new stage in the representation of warrior women in audiovisual products (Neroni 2005). My conclusion is that such stage mirrors the changes occurred over the last few years in the gender- relations order, changes that are characterized by the crucial role played by the teenagers, by their distinctive practices of relations and forms of political activism. From this point of view, therefore, the ‘girlification’ of sci-fi and action genres reflects a broader socio-political agenda.

This presentation analyses the 2012 action video game Sleeping Dogs by United Front Games from a cultural perspective.

The Grand Theft Auto-style game is set in Hong Kong and follows a Chinese-American cop infiltrating the Hong Kong triad.

With HK culture and people as the central theme of the game, Sleeping Dogs represents unrealistic portrayals of Hong Kong despite its progressiveness in representing what is a minority group in video game media. Meanwhile, the game also continues to perpetuate glorification of sex and violence like others before it.

Este texto pretende explorar cómo las imágenes fijas y en movimiento fueron, en manos de mujeres determinadas, una herramienta para realizar otra tarea más a sumar al esfuerzo bélico femenino: la propaganda bélica, en este caso en territorio español. Se trató de Madame Garnier, responsable de la Delegación Pathé en España entre 1915 y 1916, la Condesa de Bryas, representante de la sociedad benéfica Le Bon Gite; y la británica Lady Hardinge, esposa de Sir Hardinge, quien fue embajador de Inglaterra en España durante los años de la guerra. Las tres realizaron su labor de propaganda en un país como España, oficialmente declarado neutral desde el primer momento del conflicto, pero, en realidad, cada vez más enfrentado entre “germanófilos” y “aliadófilos”. ¿En qué consistió su labor? ¿Cómo encaja la misma en el panorama de la España supuestamente neutral, pero dramáticamente dividida entre los partidarios de uno y otro bando? ¿Qué aportan estos casos al conocimiento sobre la contribución femenina al esfuerzo de guerra durante la primera conflagración mundial? Estas preguntas que guían nuestro trabajo.

This paper aims to explore the active role played by three foreign women as agents of the audiovisual war propaganda, developed during the "Great War" in a country such as Spain, which was declared neutral. The French women, Madame Garnier and Countess of Bryas, as well as Lady Alexandra Hardinge, used still and moving images to promote the Allied cause. In the present text, we·ask ourselves what their work consisted of, how it fitted into the officially neutral Spanish scene and what knowledge it provides about the female contribution to the war(effort during the First World War.

Shirley Temple is a child star legend in the United States. What is less known about this household name is that her mother, Gertrude Temple, was one of the most famous and widely covered mothers in the Great Depression era, who groomed her daughter for stardom. Despite Gertrude’s tremendous professional achievements by serving as Shirley’s acting coach, manager and publicist, Gertrude was cast by the press as simply a loving and altruistic mother of Shirley to preserve the superstar’s aura of cuteness and innocence. This chapter examines the media representation of Gertrude Temple in a range of primary sources, including mainstream local and national newspapers, women’s magazines, fan magazines and movie industry trade magazines in the 1930s. It also draws on the biographical materials about Gertrude and Shirley Temple. This essay shows that despite Gertrude being a working mother – and being lauded as such – her media coverage reaffirmed the primacy of mothers not working outside the home. The press and Gertrude herself framed her actual professional contributions as primarily maternal, highly altruistic, and necessary to child development amid strong biases against women working outside the home during the Great Depression. Such a construction of a favourable identification with care work is still an effective public relations strategy today, yet it reinforced and amplified the ideology of selfless, joyful, effortless motherhood and promoted unrealistic, intensive mothering.

New feminism is a continuation of earlier feminisms but differs slightly as it emphasizes on the idea that woman is an individual with an equal worth as man while accepting the natural sexual differences. Indian Films have always portrayed women in the stereotypical roles of passive, submissive and dependent objects of visual pleasure. British Feminist Film Theorist Laura Mulvey, in her essay titled 'Visual Pleasure and Narrative Cinema', talks about the Male Gaze and how women are presented as the object of voyeurism, which means 'to-belooked-at-ness' objects. This paper attempts to look at the changes brought in the representation of woman from the stereotypical pleasurable object to the emancipated lead actor who overcame the male gaze and became an independent and strong woman. The paper observes this change of representation in Gouri Shinde's film "English Vinglish". The film is about an Indian woman who overcomes the patriarchal obstacles and becomes successful and independent. The focus is also on the contemporary Indian female directors. Unlike most of the male directors, these female directors break away from showing the woman as passive and pleasurable objects. They represent their emancipation through independent women characters who are not dependent on men.

La representación de las mujeres, detrás y delante de las cámaras de cine como protagonistas, es escasa en el cine boliviano. Generalmente, ellas tienen un papel secundario y, a veces, poco perceptible. Son personajes de relleno en las películas bolivianas. El héroe boliviano es hombre. la mujer, en algunos casos, lo lleva al pecado, lo que la convierte en el ¨anti-héroe¨, en otros casos, es su apoyo incondicional.

There is a lack of comparative research on nudity in television advertising. Building on cross-cultural theory, we examined countries' gender indices and preclearance policies as predictors of nudity. We also tested the influence of a main actors' gender and age, as well as the role of product categories. We sampled N ¼ 1,755 TV ads from 13 countries and found that the main characters' nudity was higher for women compared with men, less likely with increasing age, and occurred more often for congruent than incongruent products. Multilevel analyses showed that nudity was independent of a country's gender indices and preclearance policy.

The 2015 Hindi drama film Angry Indian Goddesses has been upheld as an example of India's first female "buddy film", promising to treat its subject-female homosocial friendships-with care and nuance. While the film fails to live up to its promise of incisively portraying relationships between its lead characters, it nevertheless presents itself as a site for critically examining the politics of such friendships, which are riven with problems of gender vis-à-vis the largely patriarchal nature of Indian society depicted in the film. This essay attempts to contextualise the narrative arc in Angry Indian Goddesses, and examines the construction of its characters and their interpersonal relationships to draw out a critique of solidarity as advanced by the representation of women's friendships in the film.

"The rise of Intersectionality and use of social media are the defining elements of fourth wave feminism."

Chapter 1: Feminism Today: Context and Rise of Fourth Wave Feminism.
Chapter 2: How Feminists use Social Media (Potential and Solutions).
Chapter 3: Dealing with the problematic reality of Social Media (Problems and Reactions).

هدفت الدراسة التي يحويها هذا الكتاب إلى رصد الصور التي قدمتها الصحافة الغربية ممثلة في عينة من الصحافة الأمريكية والبريطانية اليومية والأسبوعية لجماهير قرائها عن المرأة العربية خلال ثلاث سنوات هى 2011 و2012 و2013، والكشف عن عناصر هذه الصور ومكوناتها الرئيسية وتحليل ما تضمنته من اتجاهات والتعرف على صناعها، ومقارنة هذه الصور التى قدمتها الصحف الأمريكية والبريطانية ببعضها البعض.
وتكمن أهمية هذه الدراسة في كونها تتناول المرأة العربية التى حققت في السنوات الأخيرة تقدما كبيرا في مختلف المجالات، وكانت لها مشاركة واضحة في مسارات التنمية في بلادها، رغم ما تعانيه من مشكلات وتحديات، كما تغطى الدراسة فترة زمنية فاصلة ليس في العالم العربى فحسب بل في تاريخ العالم، الأمر الذى يفسر-إلى حد كبير- الاهتمام غير المسبوق من قبل الصحافة العالمية بالمرأة العربية التى خرجت في التظاهرات الاحتجاجية وقادت المسيرات الضخمة المطالبة بالإصلاح السياسي والتحول الديمقراطى في بلادها، وظهرت في صورة مغايرة عن الصور النمطية القديمة التى اعتادت وسائل الإعلام الغربية تقديمها. يضاف إلى ذلك ما تمثله الصحافتان الأمريكية والبريطانية على الساحة الإعلامية الدولية، باعتبارهما الصحافتين الأكثر انتشارا وتوزيعا، وتلعبان الدور الأكبر في تشكيل آراء ومواقف الجمهور نحو الكثير من القضايا والأمور والسياسيات والزعماء والشعوب.
وقد أسفرت الدراسة التحليلية عن مجموعة كبيرة من النتائج المهمة التى حققت الهدف الرئيسي للدراسة وأجابت عن التساؤلات التى طرحتها حول الجنسيات العربية للمرأة التى ظهرت في المضمون الصحفى الأمريكي والبريطاني، والأوضاع الراهنة للمرأة العربية والمشكلات التى تواجهها، والصفات والأدوار التى نسبتها الصحافتين لها، والشخصيات النسائية التى قدمتها لقرائها، بالإضافة إلى تحديد خصائص صناع هذه الصورة، واتجاهات المضمون الصحفى الذى قدموه نحو المرأة العربية. وبصفة عامة توصلت النتائج العامة لهذه الدراسة إلى وجود تحسن ملحوظ في مجموع الصور التى قدمتها الصحافتين الأمريكية والبريطانية في السنوات الثلاثة (2011-2013)، مقارنة بتلك الصور التى رصدتها الدراسات السابقة عن صورة المرأة العربية في الصحافة العربية والغربية على حد سواء، وإن لم يتحقق هذا التحسن بالقدر المساوى لما حققته المرأة العربية على أرض الواقع، ويمكن تفسير ذلك في إطار الاختلافات الثقافية بين المجتمعين العربي والغربي إلى الحد الذى يؤثر على اكتمال هذه الصور وموضوعيتها وواقعيتها.

Cette thèse se propose d’étudier de quelle façon la misogynie peut prendre pour cible des pratiques linguistiques pouvant être perçues comme féminines et prend l’exemple du stéréotype sexiste de la « Valley Girl. » Ce terme, popularisé dans les années 1980 par le titre éponyme de Frank Zappa, a d’abord fait référence à des adolescentes, prétendument futiles et décérébrées, appartenant à la classe moyenne californienne. Bien que ces dernières aient été ridiculisées dans la chanson, cette exposition médiatique a paradoxalement eu pour effet de lancer un effet mode dont l’une des manifestations était linguistique : le Valspeak. Ce dialecte comprend entre autres des marqueurs phonétiques (le California Vowel Shift), prosodiques (l’utilisation d’un contour intonatif montant), lexicaux (fer sure, gag me with a spoon) ou de discours (LIKE). Bien que certains de ces marqueurs n’aient pas été (uniquement) popularisés par les Valley Girls, ils peuvent néanmoins être perçus comme tels, et y avoir recours peut exposer un locuteur à une perception négative de sa personne. Ce travail cherche à interroger les liens pouvant exister entre la stigmatisation des marqueurs du Valspeak et la misogynie, phénomène que nous appelons la « misogynie linguistique » du Valspeak. Dans quelle mesure la potentielle stigmatisation de ces marqueurs peut-elle être due au genre féminin des locutrices prototypiques de ce dialecte ? Trois éléments de réponse à cette question sont proposés. Tout d’abord, une étude de perception dialectale quantitative portant sur trois marqueurs du Valspeak (le California Vowel Shift, le contour intonatif montant et LIKE) est menée auprès de locuteurs de l’anglais américain. Deuxièmement, des entretiens qualitatifs ont pour but d’évaluer quelles idéologies sont associées aux marqueurs linguistiques du Valspeak et à la persona Valley Girl. Enfin, l’analyse porte sur trois représentations télévisuelles humoristiques de personnages féminins dans Parks and Recreation, Les Griffin et Ew! (un sketch dans The Tonight Show Starring Jimmy Fallon). Il est montré que des marqueurs du Valspeak sont utilisés afin d’orchestrer la stigmatisation de personages féminins sans faire explicitement appel au stéréotype Valley Girl.

This dissertation explores the regulation of sex-related popular media text in contemporary China, across the expected lifespan of procreative heterosexual marriage. The three case studies encompass regulation of television programming, television drama, and film. The regulative actions vary from public notices to official prohibition of the media text. Following the Foucauldian tradition of studying media regulation, and borrowing from feminist, queer and class studies, this dissertation records the contradiction-rifle contemporary history of media regulation in post-socialist, neoliberal China. Under what appear to be conservative, theocratic-like regulations, I argue that nationalism, the Party’s localized socialist ideology, and hetero-patriarchy are intertwined to secure a legitimized but under-supervised party-state governance. However, it is through these very prohibitions that a space for text about women’s gender consciousness has opened.
Key Words: Media Regulation, Media Censorship, Discursive Regulation, Private Topics in Public, Regulation of Sexual Content, Representation of Sexuality, If You Are the One, Feichengwurao, Dwelling Narrowness, Woju, Lost in Beijing, Pingguo
E-mail of author: bai10@illinois.edu

Las investigaciones sobre la representación de las mujeres en los medios de comunicación, desarrollados a partir de la denominada como Segunda Ola del Feminismo, han demostrado la reproducción de estereotipos y roles sexistas que terminan por justificar las relaciones de dominación y desigualdad.
Desde el feminismo decolonial se critica la utilización por parte del feminismo blanco, burgués y occidental, de la categoría género como una categoría universal que explica la opresión de las mujeres de forma global, sin tener en cuenta otras matrices de dominación colonial, como las de raza, clase y heterosexualidad normativa, que recaen sobre las mujeres pertenecientes a los grupos subalternos, en este caso, históricamente invisibilizadas en los medios de comunicación.
En este capítulo se presenta, en primer lugar, una caracterización de los estudios culturales e investigaciones en comunicación desde la perspectiva feminista occidental, para después realizar una crítica a dichos estudios a partir de las categorías planteadas por el feminismo decolonial y proponer una aproximación a las investigaciones sobre la representación de las mujeres en los mass media desde una perspectiva decolonial que permita formular nuevas metodologías de análisis e identificar dichas representaciones en el marco de la colonialidad del poder.

Slash fiction is loosely defined by Kelly Boyd as, "sexually explicit, amateur, gay male and lesbian tales produced predominantly by heterosexual women for heterosexual women, about characters in mainstream television series and feature movies." My research confirmed that slash fiction fans are predominantly female, but I also found that a significant portion identify as part of the LGBTQ/queer community. I look at past research to frame the functions of slash fiction and why media representation is important as it relates to the queer community and female sexuality. My research found that fans believe mainstream media's understanding of slash fiction and fandom culture is poor, but they also believe media representation has a significant influence on public perception and awareness of fandom culture. In examining the level of risk participants associated with slash in Kelly Boyd's 1997 study on slash fiction, feminism, and risk compared to 2015, I found that my participants were more worried about judgement for writing sexually explicit material than about homophobia specifically.

Kantai Collection is a media-mix phenomenon that has taken Japan by storm since the online videogame was released by DMM.com in 2013. Encompassing manga, anime, game spin-offs, figurines and  a wide array of related merchandise, Kantai Collection attracts a  broad consumer audience. In Kantai Collection, warships are anthropomorphized as highly sexualized young women. The Kantai Collection megatext is highly political in terms of theme, representation of women, and enactment of war memories. This paper examines the manga, anime and game as part of a popular politicization of WWII by Japanese artists, also seen in blockbuster revisionist films from Japan. Kantai Collection depends on a masculinist construction of history in which the woman’s body is put to ideological use, deeply indebted to prewar kokutai philosophies. The hyper-sexualization of women in Kantai Collection contributes to the exoticization of war as distant and unreal, in a context of controversial war memories in Japan vis-à-vis the Asian mainland.

Rezime: Medijska reprezentacija grupnih identiteta je i teorijski i društveno aktu-elno pitanje od kraja šezdesetih godina prošlog veka. Tada je u društvenoj teoriji došlo do velike promene, naime 'kulturni obrt' izdvojio je 'značenje' kao centralnu kategoriju za razumevanje ljudskog ponašanja, a samim tim su prakse označavanja, uključujući i reprezentovanje identiteta, postale predmet intenzivnih proučavanja. U isto vreme, pokreti za ljudska prava su, ističući značaj simboličke moći, otpočeli borbu za drugačiju politiku reprezentacije do tada marginalizovanih grupa. Medijima, kao glavnim tvorcima značenja u savremenom svetu, posvećena je velika pažnja, a brojna istraživanja izvršena su sa ciljem da se utvrdi kako oni reprezentuju identitete. Za potrebe ovog rada napravljena je sistematizacija različitih politika reprezentacije i izdvojene su najzastupljenije medijske strategije. U mas-medijima su kao najčešće primenjivane uočene strategije polarizacije, simboličke anihilacije, okrivljivanja, medijskog konformizma i normalizacije, dok su, kao najprisutnije u medijima manjina analizirane strategija integracije i komercijalizacije. Nabrojane strategije mogu se uočiti i u sadržajima na internetu, ali ovaj medij stvorio je nove komunikacione prakse koje nameću dodatna pitanja kada je o repre-zentaciji identiteta reč. Između ostalog, otvara se debata o demokratskom potencijalu interneta i mogućnosti komunikacije manjinskih mišljenja, kao i o karakteristikama onlajn identiteta i uticaju koji taj fenomen ima na proces reprezentacije i konstrukcije identiteta uopšte.

L’articolo indaga le modalità verbali e iconografiche usate dai giornali sportivi dell’epoca per raccontare la vicenda del Gruppo Femminile Calcistico (GFC), un gruppo di coraggiose ragazze che nella Milano fascista del 1933 tentò di organizzare la prima società calcistica femminile in Italia.
Dopo una prima parte dedicata al mondo delle “tifose” (supporters ancora passive del calcio maschile dell’epoca) [2], l’articolo presenta l’analisi di una serie di lettere ai giornali sportive dell’epoca, grazie alle quali la portavoce del GFC ebbe modo di difendere le ragioni del il neonato gruppo [3], grazie anche al supporto di un apposito testo programmatico (il “programma”) [4]. Vengono poi analizzati due diversi approcci da parte degli inviati (maschili) di due giornali sportivi dell’epoca (La Gazzetta dello Sport e Il Calcio Illustrato) [5], soffermandosi poi sulle interessantissime interviste alle calciatrici proposte dal secondo [6]. Si passa quindi all’analisi intertestuale dell’articolo autobiografico di una cestista milanese (sfruttata probabilmente dal regime in chiave anti-GFC) [7], per poi concludere con un piccolo studio sulla rappresentazione visiva (fotografie, vignette e relative didascalie) della donna sportiva in Italia in quell’epoca [8].
-----------
The essay analyses the verbal and iconographical tools used by sport magazines to tell their audience about GFC (Gruppo Femminile Calcistico, ‘Women Football Club’), a group of brave girls who tried to organize, in 1933 Fascist-Milan, the first female football club in Italy.
After a first part about the social phenomenon of tifose (‘female supporters’ of contemporary male football, not yet active players) [2], the essay analyses some letters written to sport magazines by the mouthpiece of GFC: she wrote them in order to stand up for the new-born group [3], quoting  GFC’s manifesto, called programma [4]. Then the analysis of the different ways sport journalists of La Gazzetta dello Sport and of Il Calcio Illustrato used to write about GFC’s matches [5] comes; the second journalist conducted some interesting Il Calcio Illustrato interviews with the female players [6]. Intertextuality would be very useful to understand a contemporary autobiographical article by a female basketball player: she was most likely exploited by the Fascist regime against GFC [7]. The last part of the essays is about the iconographical representation (photos and captions, cartoon and captions) of the sport woman in 1930s’ Italy [8]. 
-----
For an English sum of this research, see also: https://goo.gl/N1bVwN

Studies examining media coverage of politics have found female politicians to be disadvantaged as compared with their male counterparts, as women tend to attract lower overall attention and to receive less substantive coverage than men. Women politicians receive more coverage of their appearance and family, and less coverage of their position on issues than do male politicians. These differences can erode a woman politician’s credibility. Media should be aware of this fact. This paper presents a guidelines for a non sexist representation of women politicians in the media addressed to the media, the journalist professional associations and departments of communication studies in the universities.

The media are at the forefront of admonishing societal ills, including discrimination against women. However, turning the spotlight on their operations and environment, do the media live up to the ideals they preach on the cause for the advancement of women?

Statistics from various studies show that women are under-represented in the media industry in Kenya, yet there is no shortage of competent women professionals in the field: four out of every five graduates from journalism or media faculties are in fact women. This under-representation is even more pronounced at the apex: in senior management and governance, the ratio of men to women is 2:1, and the two largest media houses have never had a woman CEO.

This begs the question: Is ‘womanity’ positive or negative capital in the media workplace? Is the media sector woman-friendly? Does the industry actively seek gender parity? Are women employees valued?

This study examines these and related questions, through quantitative and qualitative analyses on the done by various researchers over the last two decades. The questions are examined using Pierre Bourdieu’s theories on capital, as interpreted by Toril Moi and applied by Monika Djerf-Pierre. The image that crystallises on this reversed mirror is disturbing, at odds with what the ‘preacher preaches’. The ‘glass ceiling’ is intact, the ‘velvet ghetto’ undemolished and a ‘Barbie-doll boudoir’ has emerged. The media sector is far from being woman-friendly; it is still largely a man’s world: sexual harassment and sexist language are rampant – with women-based sexualisation of content now added. The ‘boys’ clubs’ and networks remain intact. All these factors militate against the advancement of women.

But there is hope if only because some women have overcome these barriers, and so others too can. This study makes several recommendations on areas warranting further research and action, to counter the anti-woman culture in the media sector and remedy the undesirable prevailing situation.

The module helps in understanding the way media represents the female gender and the impact it casts on societal thought about and attitude towards women. The module further helps readers in understanding how media has traditionally represented women and how it continues to do so in present times. It helps in developing knowledge about how media has carried forward the patriarchal representation of women and has done little to dismantle such notion.

Desde la perspectiva del análisis crítico del discurso, el capítulo se concentra en la narrativa profunda de los contenidos virales sobre Yalitza Aparicio que circularon en México desde que fue nominada a los premios Oscar 2019 como mejor actriz por la película Roma, de Alfonso Cuarón.
El texto examina el rol que desempeña el discurso y la narrativa transmedia, para producir, reproducir o resistir a las relaciones hegemónicas de poder y a las inequidades sociales
(Wodak, 1996; Richardson, 2007). CONCLUSIÓN: En la mayoría de los ejemplos analizados, tanto el periodismo que representó a Yalitza como una Cenicienta, como los contenidos virales de la cultura popular y la cultura visual que reprodujeron esta narrativa, tienen un efecto que refuerza las lógicas de dominación, discriminación y explotación.

There has been a lot of rhetoric in the Southern African countries on the need to politically empower women although this has not really translated into substantial action. The current constitutions in Zimbabwe and South Africa do not provide any quota for women representation in politics. For example, women representation in the House of Assembly has fluctuated from one election year to the other since Zimbabwe attained independence in 1980. However, a new constitution appears to take critical steps towards enhancing gender equality in politics by proposing the allocation of 60 “affirmative action” seats for women for the first two terms after the new constitution is adopted. The 60 female MPs would add to the 210 parliamentary seats and the 88 senate seats that the country currently has. While this creates opportunities for more women to enter politics, the level of participation by the women proposed in the new Zimbabwean constitution still falls short of the benchmarks set by several local, regional and international policy frameworks that promote and support women’s extensive participation in politics. Thirty five years after the first multi-racial elections brought democracy to Zimbabwe ended the colonial government, the news media, as well as other social institutions, are still in the process of transformation. The news media have a particularly important role to play in a country where political participation is a new experience for many people. Media in Zimbabwe also faces the challenge of ensuring equal and fair representation of the entire population. Gender and media activists, in particular, have taken up the challenge of bringing about change in the media. This paper provides an overview of the current Zimbabwe media landscape with a particular focus on women in the media and politics. The first section presents background information about Zimbabwean women’s position in society.

During the onslaught of the Islamic caliphate on Kobanî, Syria, media outlets across the globe broadcast pictures of brave and often unveiled Kurdish women fighting the Islamic State of Iraq and the Levant (ISIS), a quintessentially male force of destruction. The images of women fighting Islamist male aggressors aroused outrage, admiration, and pity among observers. But had all Kurdish fighters been male or had women fought for ISIS, viewers might have reacted differently. To examine some of the most widely disseminated gendered pictures and videos of the Syrian uprising in the media, this article draws on Mohja Kahf’s three categories, which typify how Muslim women, Arab women, or both are perceived by the Anglophone reading and viewing public: the first is victims; the second, escapees; and the third, pawns of patriarchy and male power. While this typology helps in examining gendered images of the Syrian uprising, it also obscures the socioeconomic realities on the ground.

პოპულარული კულტურის მიერ გაგზავნილი მესიჯები, ქალების გარეგნული და პიროვნული თვისებების შესახებ, მეტ-ნაკლებად აყალიბებს საზოგადოებრივ შეხედულებებს მათ მიმართ. სწორედ ამიტომ, კვლევის მიზანს წარმოადგენდა ახალგაზრდა ქალების რეპრეზენტაციის შესწავლა 21-ე საუკუნის ჰოლივუდის ფილმებში. კერძოდ, ის, თუ როგორ ხასიათდებიან ახალგაზრდა ქალები ფილმებში, როგორია ახალგაზრდა ქალ და მამაკაც პერსონაჟთა ურთიერთდამოკიდებულება და როგორია დამოკიდებულება თავად ახალგაზრდა ქალ პერსონაჟთა შორის. ამ საკითხების უკეთ შესასწავლად შეირჩა თვისებრივი სოციოლოგიური კვლევის ერთ-ერთი მეთოდი - კონტენტ-ანალიზი. კვლევის ფარგლებში გაანალიზდა შემთხვევით შერჩეული 10 ჰოლივუდური დრამის შინაარსი. კვლევისას მოპოვებული ინფორმაციის დამუშავების შედეგად გამოვლინდა, რომ ახალგაზრდა ქალები ძირითადად წარმოდგენილნი არიან ფემინური გარეგნობითა და თვისებებით და აქვთ დაბალი თვითშეფასება. ისინი წარმოადგენენ მამაკაც პერსონაჟთა ემოციურ მხარდამჭერებს და მზად არიან, უარი თქვან საკუთარ კარიერულ განვითარებაზე ოჯახის შესანარჩუნებლად. რაც შეეხება ახალგაზრდა ქალებს შორის ურთიერთობებს, ეს უკანასკნელი, უმეტესად, გამოხატულია პაექრობასა და კონკურენციაში, თუმცა, აგრეთვე გვხვდება მათი მეგობრული დამოკიდებულებაც. შეჯამების სახით, კვლევამ აჩვენა, რომ ახალგაზრდა ქალ პერსონაჟთა რეპრეზენტაციისას დომინირებს მათი მოწესრიგებული იმიჯი, ემპათიური, მგრძნობიარე ბუნება და არასაკმარისი თავდაჯერებულობა, რის გამოც, შერჩეულ ფილმებში მათ, ხშირად, პასიურ და დაქვემდებარებულ პოზიციებში ვხვდებით.

საკვანძო სიტყვები: ახალგაზრდა ქალები; რეპრეზენტაცია; გენდერი; ფილმი; კონტენტანალიზი.

On an academic level, this study aims to contribute to a theory already raised about non-Western women; the critique to the frame of the mainstream western dominant representation on third-world women as well as to analyze the impact on political actors, especially international refugee-related actors. The methodology, in line with the purpose of this paper, is the study of attitudes and behavior towards Syrian refugee women. In this way we will derive on how this gender unilateral discourse impact and which are their implications