By Heather Savigny, Einar Thorsen, Daniel Jackson, Jenny Alexander
This assortment brings jointly new learn on modern media, politics and gear. It explores methods and potential during which media can and do empower or dis-empower electorate on the margins that's, how they act as autos of, or stumbling blocks to, civic supplier and social switch.
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Extra resources for Media, Margins and Popular Culture
Few octogenarians would be thought sufﬁciently modish to ﬁgure in anthems to anorexic youth, the Calvin Klein advertisements. Fewer still, in their ninetieth year, would expect to feature in the ﬁrst, controversial commercial with a homosexual theme on terrestrial British television, targeted at young women: Crisp’s momentary appearance in the Impulse advert in 1998, aired frequently to a prime-time soap-opera audience, conﬁrmed his status as a master signiﬁer of deviance. A fascinating case-study in confounded sexual identity, he could be decoded as the elder statesman of sexual difference in the West.
As Bechdel says, the marginalisation of women in ﬁlm has become, frankly, boring. It has been discussed until there seems to be nothing left to say, and feminists leave the fray battle-weary and demotivated – and yet it persists. Which perhaps explains why a tonguein-cheek set of rules, a joke made for a very niche audience nearly 30 years ago, has managed to survive in the hinterland of popular culture – and why, despite its limitations, it is still capable of eliciting passionate responses on both sides.
Women’s voices have been problematised throughout history and culture. Kaja Silverman in The Acoustic Mirror (1998) notes the various ways in which women’s speech is repressed, silenced, rendered unreliable or damaging or emptied of authority in ﬁlm narratives. Moreover, conversation between women raises the possibility of a relationship between them as independent human beings without reference to a male character. In a similar vein, the stipulation that the conversation should be about something other than a man serves to highlight the prevalence of female characters whose narrative roles are deﬁned entirely in terms of the male characters in a ﬁlm.
Media, Margins and Popular Culture by Heather Savigny, Einar Thorsen, Daniel Jackson, Jenny Alexander