The new edition of Media, Gender and Identity is a highly readable introduction to the relationship between media and gender identities today. Fully revised and updated, including new case studies and a new chapter, it considers a wide range of research and provides new ways for thinking about the media’s influence on gender and sexuality.
David Gauntlett discusses movies such as Knocked Up and Spiderman 3, men’s and women’s magazines, TV shows, self-help books, YouTube videos, and more, to show how the media play a role in the shaping of individual self-identities.
The book includes:
David Gauntlett is Professor of Media and Communications at the University of Westminster, London. He is the author of several books on media audiences and identities, including Moving Experiences (1995, 2005) and Creative Explorations (2007). He produces Theory.org.uk, the award-winning website on media, gender and identity.
This book presents a major contribution to the theoretical understanding of the mediatization of culture and society. This is supplemented by in-depth studies of:The mediatization of politics: From party press to opinion industry; The mediatization of religion: From the faith of the church to the enchantment of the media; The mediatization of play: From bricks to bytes; The mediatization of habitus: The social character of a new individualism.
Mediatization represents a new social condition in which the media have emerged as an important institution in society at the same time as they have become integrated into the very fabric of social and cultural life. Making use of a broad conception of the media as technologies, institutions and aesthetic forms, Stig Hjarvard considers how characteristics of both old and new media come to influence human interaction, social institutions and cultural imaginations.
Striptease Culture is divided in to three sections:
* Part one – traces the development of pornography, following its movement from elite to mass culture and the contemporary fascination with ‘porno-chic’
* Part two – considers popular cultural forms of sexual representation in the media, moving from backlash elements in straight male culture and changing images of women, to the representation of gays in contemporary film and television
* Part three – looks at the use of sexuality in contemporary art, examinging the artistic ‘striptease’ of Jeff Koons, and others who have used their own naked bodies in their work.
Also considering how feminist and gay artists have employed sexuality in the critique and transformation of patriarchy, the high profile of sexuality as a key contributor to public health education in the era of HIV and AIDS, and the implications of the rise of striptease culture for the future of sexual poltics, Brian McNair has produced an excellent book in the study of gender, sexuality and contemporary culture.
This book presents new scholarship that addresses queer media production and practices across a wide range of media, including television, music, zines, video games, mobile applications, and online spaces. The authors consider how LGBTQ representations and reception are shaped by technological affordances and constraints. Chapters deal with critical contemporary concepts such as counterpublics, affect, temporality, nonbinary practices, queer technique, and transmediation to explore intersections among communication and media studies and cutting-edge queer and transgender theory. This collection moves beyond considering LGBTQ representations as they appear in media to consider the central role of technologies in understanding intersections among gender, sexuality, and media. Even the most heteromasculine technologies can be queered, yet we can’t assume queerness works in the same way across different media. Emergent media technologies afford queer worldmaking, but these worlds are forged between normalization and niche marketing. This book was originally published as a special issue of Critical Studies in Media Communication.
Drawing upon an array of disciplines from neuroscience to philosophy, and art to social theory, David Gauntlett explores the ways in which researchers can embrace people's everyday creativity in order to understand social experience.
Seeking an alternative to traditional interviews and focus groups, he outlines studies in which people have been asked to make visual things – such as video, collage, and drawing – and then interpret them. This leads to an innovative project in which Gauntlett asked people to build metaphorical models of their identities in Lego. This creative reflective method provides insights into how individuals present themselves, understand their own life story, and connect with the social world.
Creative Explorations is a lively and original discussion of identities, media influences, and creativity, which will be of interest to both students and academics.
Arguing that traditional feminism is wrong to look to a natural, 'essential' notion of the female, or indeed of sex or gender, Butler starts by questioning the category 'woman' and continues in this vein with examinations of 'the masculine' and 'the feminine'. Best known however, but also most often misinterpreted, is Butler's concept of gender as a reiterated social performance rather than the expression of a prior reality.
Thrilling and provocative, few other academic works have roused passions to the same extent.
Systematic and progressive, it introduces the key approaches and shows how they relate to the understanding, study and practice of spirituality. Covering a vast amount of ground - from traditional themes such as images of God, spiritual direction and pilgrimage to more contemporary issues, such as place and space, cyberspace and postcolonialism - the author takes an ecumenical, inclusive stance, allowing the book to be used in a wide variety of courses and across denominations.
The first edition of Making is Connecting struck a chord with crafters, YouTubers, makers, music producers, artists and coders alike. David Gauntlett argues that through making things, people engage with the world and create connections with each other. Online and offline, we see that people want to make their mark, and to make connections.
This shift from a ‘sit-back-and-be-told culture’ to a ‘making-and-doing culture’ means that a vast array of people are exchanging their own ideas, videos, and other creative material online, as well as engaging in real-world crafts, music projects, and hands-on experiences. Drawing on evidence from psychology, politics, philosophy, and economics, Gauntlett shows that this everyday creative engagement is necessary and essential for the happiness and survival of modern societies.
This fully revised second edition includes many new sections as well as three brand new chapters on creative processes, do-it-yourself strategies, and platforms for creativity.
Eschewing a straightforwardly positive or negative assessment the book explores the contradictory character of contemporary gender representations, where confident expressions of girl power sit alongside reports of epidemic levels of anorexia among young women, moral panics about the impact on men of idealized representations of the 'six-pack', but near silence about the pervasive re-sexualization of women's bodies, along with a growing use of irony and playfulness that render critique extremely difficult.
The book looks in depth at five areas of media - talk shows, magazines, news, advertising, and contemporary screen and paperback romances - to examine how representations of women and men are changing in the twenty-first century, partly in response to feminist, queer and anti-racist critique.
Gender and the Media is also concerned with the theoretical tools available for analysing representations. A range of approaches from semiotics to postcolonial theory are discussed, and Gill asks how useful notions such as objectification, backlash, and positive images are for making sense of gender in today's Western media. Finally, Gender and the Media also raises questions about cultural politics - namely, what forms of critique and intervention are effective at a moment when ironic quotation marks seem to protect much media content from criticism and when much media content - from Sex and the City to revenge adverts - can be labelled postfeminist.
This is a book that will be of particular interest to students and scholars in gender and media studies, as well as those in sociology and cultural studies more generally.