ECTS5001 Cultural Identities: Gender, Race & Media

!

Tutor: Lynda Fitzwater

!1

Cultural Identities: Gender, Race & Media

Introduction to the Component

This component takes an interdisciplinary approach to consider a number of

issues relating to constructions of gender, sexuality and the body, drawing on

cultural, gender and film studies.

The component addresses the historical shifts in representation of culture,

gender and identity, and uses contemporary case studies as a focus for

analysis.

!2

Statement on Studentship

Through ongoing conversations with my students, it has often been highlight-

ed that it is in the nature of seminar discussions on topics such as gender,

sexuality and identity to sometimes touch upon issues which some individuals

will quite appropriately and understandably, find sensitive and personal.

Students’ discretion and open-mindedness would be appreciated when listen-

ing and contributing to these discussions. We would like to create a support-

ive, comfortable and enjoyable atmosphere in our class-time together.

Additionally, I would like to emphasise how important it is for you to participate

in seminar explorations of the Cultural Identities material, so maintaining a

good level of attendance throughout the seven weeks is strongly encouraged.

This will benefit you in several ways. Not only will your own understanding of

the specific Cultural Identities contextual issues be improved, but you will feel

considerably more confident when it comes to starting to put together your

written work for the submission.

For the future, ideas you engage with during this component may well form a

constructive basis for your Theoretical Studies work in the third year. Previous

Cultural Identities students have often found hand-outs and research they’ve

collected very useful later on for their Dissertations and Critical Reflection

component, so it may benefit you to keep these materials safe and in order,

even after you’ve handed in your work for this task.

!3

Timetable

Week 1 – Introduction, and discussion of Stereo-types

Week 2 – Gender and Cross Dressing

Week 3 – Interpreting Images of Femininity

Week 4 – Interpreting Images of Masculinity

Week 5 – Race, Identity & Representation

Week 6 – Celebrity & Identity, and the opportunity to sign up for one Group Tutorial taking place over the following two weeks

Week 7 – Essay Lecture & Group Tutorials to dis-cuss ideas for the essay and your choice of Primary and Secondary Research Sources

Week 8 - Group Tutorials to discuss ideas for the essay and your choice of Primary and Secondary Research Sources

Hand in details: Check the main ECTS5001 handbook on MyUCA for the date of submission. You must submit your Originality Report printed from Turnitin as the top sheet of your essay submission. Please check the announcements on MyUCA for more details on how to do this. Also you can check the first three slides of the Powerpoints for weeks 5 & 6 which will be on MyUCA after the Lecture. If you have any problems getting into University on the hand-in day please contact the Faculty Office as soon as you can. If you would like to discuss applying for Mitigating Circumstances (difficulties affect-ing your completion of the work) at any time please contact the Faculty Office.

!4

Selected Terminology which will be coming up on this Component

Terms referring to research, presentation & how you do your work:

Citing/Citation/Referencing: the process of acknowledging, mentioning or

naming the author of the idea you are using in your work. This is done

throughout your writing in the introduction, main body and conclusion in an

essay.

Bibliography: an alphabetical list of the research sources you have used in

your written work. This goes at the back of an essay. It must be laid out in a

specified format according to the Harvard Method (see below).

Harvard Method: a way of doing your citations/references that was developed

by the top American University called Harvard. It is a system used by students

and professional writers all over the world to help the readers of their work

quickly look up where they’ve got their research from.

It is the method that UCA recommends all students use in their Contextual

Studies work and full details are on MyUCA in the overall Handbook for this

Component plus in the Library and Learning area.

Academic Sources: published, available written work about history, theory,

culture or other subjects which uses the Harvard method of citation (or foot-

notes/endnotes) throughout the length of the work and which has a bibliogra-

phy/references at the back.

It is not only books that can be an academic source, also articles published in

journals which are reviewed by a group of experts (known as peer-reviewed)

before they can be published. Some of these journals are available online

only (e.g. The International Journal of Zizek Studies www.zizekstudies.org or

www.genders.org Presenting Innovative Work in the Arts, Humanities & Social

Theories), but they are still considered appropriately academic for Contextual

Studies work. Good examples of journals are Fashion Theory, Fashion Prac-

tice, and The Journal of Consumer Culture. These, and many others, are

available as physical copies in the library or you can get access through its

electronic databases. For help with this, please ask any of the librarians.

!5

Studentship: the quality of your approach to participation with educational ser-

vices you are engaged in. This is a capability which can be developed more

and more over your time here at UCA. Your feelings of studentship can be

connected to how interested you are in a subject, how good you think you are

at it, or how well you want to do but also can be affected by how you relate to

prioritising your time.

Your studentship can change from time to time during your degree, or across

different types of work, but overall, it is important and beneficial for you to be

aware of and give some consideration to your own attitude to studentship, and

its consequences.

Terms referring to ideas and theories you might write about in Contex-tual Studies work:

Contemporary: current, going on at the time.

Contextual: background details, circumstances that make up the situation

around a particular event or trend.

Representation: visual imagery and written language which depicts something

in the real world. It can contain messages, values and symbolism. Represen-

tation is a process by which signs and meanings are communicated by one

person to another, or to groups of people (for example TV viewers).

Gender: a wide set of characteristics that allow us to distinguish between

males and females. Dictionaries will define gender in useful but very simple

terms; for your Contextual Studies written work, it is much more constructive

to consider what specialist writers have to say about gender in the recom-

mended readings over the next few pages.

Stereotype: a commonly held public belief or assumption about a person, or a

group of people. Authors we analyse in these sessions highlight the potential

that stereotypes have for allowing people in power to impose their value sys-

tem on other individuals, so these writers’ ideas are useful tools for investigat-

ing the stereotyping that goes on in films, TV, fashion, advertising, music

!6

videos, graphic novels and other forms of entertainment we view in our daily

lives.

Identity: factors that allow individuals to see themselves and their personali-

ties as different to other people. This can be aspects such as gender, sexuali-

ty, fashion style, musical taste, education, ethnicity and qualifications.

!7

Programme

Please note: You only need to choose ONE essay question The essay question that relates to each week is BELOW the Readings You must use at least 5 academic texts in your essay to support your discussion.

Week One: Introduction to the Component, and dis-cussion of Representation, Meaning & Stereotypes

We will discuss how visual and audio cultural forms construct and represent

our gender and identity. Popular forms of entertainment will be questioned for

how they reflect contemporary cultural ideals of masculinity and femininity.

The concept that stereotypes are wrong will be assessed.

Readings:

Berger, John. (1972). Ways of Seeing. Harmondsworth: Penguin.

Craik, Jennifer. (1994). Fashioning Women: Techniques of Femininity. In The

Face of Fashion, Cultural Studies in Fashion. London: Routledge.

Dyer, Richard. (1993). The Matter of Images: Essays in Representation. Lon-

don: Routledge.

Hall, Stuart (ed.) Representation: Cultural Representations and Signifying

Practices. London: Sage.

Gaines, Jaine. (1990). Introduction: Fabricating the Female Body. In Gaines,

Jaine & Herzog, Charlotte. eds. Fabrications: Costumes and the Female

Body. London: Routledge.

1. Essay Question: “[It is] not stereotypes that are wrong […] but who controls and defines them, what interests they serve”.(Dyer, 1993: 12) Discuss with reference to specific examples in visual culture and at

least 5 academic theories.

!8

Week Two: Gender & Cross Dressing Sexuality and the body. We will discuss how the social world reads individuals

through their clothing. The ways that cross dressing is used to communicate

ideas about gender in film and other forms of media will be addressed.

Readings:

Bruzzi, Stella. (1997). The Comedy of Cross-dressing. In Undressing Cinema:

Clothing and Identity in the Movies. London: Routledge.

Bruzzi, Stella. (1997). The Erotic Strategies of Androgyny. In Undressing Cin-

ema: Clothing and Identity in the Movies. London: Routledge.

Garber, M. Introduction. In Vested Interests Cross Dressing and Cultural Anx-

iety. London: Penguin.

Tasker, Yvonne.(1993).Crossdressing, Aspirations & Transformations. In

Working Girls: Gender & Sexuality in Popular Cinema. London: Routledge.

2. Essay Question: “Clothes are not just clothes […] they are how the social world ‘reads’ and contextualises the individual”. (Bruzzi, 1997: 138) Discuss in relation to cross-dressing in specific examples of visual cul-ture and at least 5 academic theories.

!9

Week Three: Interpreting Images of Femininity We will analyse how images of women in visual culture have been produced

and received. The concept that images of women in the media support the

dominant ideology in society will be explored. We will question if female char-

acters in visual and audio culture have been over-identified with their image,

i.e. much of their identity based/judged upon how they look.

Readings:

Bruzzi, Stella. (1997). Clothes, Power and the Modern Femme Fatale. In Un-

dressing Cinema: Clothing and Identity in the Movies. London: Routledge.

Gaines, Jane M. (1990). Costume and narrative: How Dress tells the

Woman’s Story. In Gaines, Jane. M., & Herzog, Charlotte eds. Fabrications:

Costumes and the Female Body. London: Routledge.

Radner, Hilary. (1998). ‘New Hollywood’s New Women’ in Neale, Steve &

Smith, Murray. (1998). Contemporary Hollywood Cinema, pp., 247-262. Lon-

don: Routledge

Stables, Kate. (2001). ‘The Postmodern Always Rings Twice: Constructing the

Femme fatale in 90s Cinema.’ In Kaplan E. Ann (ed). (2001). Women in Film

Noir, pp., 164-182. London: British Film Institute.

Tasker, Yvonne. (1993). New Hollywood, New Film Noir and the Female Fa-

tale. In Working Girls: Gender & Sexuality in Popular Cinema. London: Rout-

ledge.

3. Essay Question:

“Women, both on and off the screen have been over-identified with their image”. (Bruzzi,1997: 121) How does dress in visual culture contribute to the formation of feminine gender roles? Discuss with reference to specific examples

and at least 5 academic theories.

!10

Week Four: Interpreting Images of Masculinity We will analyse how images of men in film have been produced and received.

We will question what men’s costumes signify in film and the concept that re-

cent films’ style masculinity differently and do represent men’s sexuality.

Readings:

Bruzzi, Stella. (1997). The Instabilities of the Franco-American Gangster. In

Undressing Cinema: Clothing and Identity in the Movies. London: Routledge.

Cohan, Steven & Hark, Ina Ray eds. (1996). Screening the Male: Exploring

Masculinity in Hollywood Cinema. London: Routledge.

Dyer, Richard. (1992). Don’t Look Now: The Male Pin-Up. In Screen. The

Sexual Subject: A Screen Reader in Sexuality, London: Routledge.

Jeffords, Susan. (1996). Can Masculinity be Terminated? In Cohan, Steven &

Hark, Ina Ray eds. Screening the Male: Exploring Masculinity in Hollywood

Cinema. London: Routledge.

Neale, Steve. (1996). Prologue. Masculinity as Spectacle: Reflections on Men

and Mainstream Cinema. In Cohan, Steven & Hark, Ina Ray eds. Screening

the Male: Exploring Masculinities in Hollywood Cinema, pp.9-20. London:

Routledge.

4 Essay Question: “Men’s bodies have never simply stood for sex; consequently their clothes never have either”. (Kidwell & Steele,1989: 81) How does dress define masculinity in visual culture?

Discuss with reference to specific examples and at least 5 academic theories.

!11

Week Five: Race, Identity & Representation We will question how race is represented on our screens as a ‘spectacle of

the other’. The issues of how black characters have been stereotyped will be

addressed. Black and ethnic characters’ presentation as an exotic product for

audience consumption will be analysed.

Readings:

Bruzzi, Stella. (1997). The Screen’s Fashioning of Blackness. In Undressing

Cinema: Clothing and Identity in the Movies. London: Routledge.

Gabbard, K. (2001). “Someone is going to pay”: Resurgent White Masculinity

in Ransom. In Lehman, Peter ed. Masculinity: Bodies, Movies, Culture,

pp7-23. AFI Film Readers. London: Routledge.

Hall, Stuart. The Spectacle of the “Other”. In Hall, Stuart ed. Representation:

Cultural Representations and Signifying Practices. London: Sage.

hooks, bell. (1992). Black Looks: Race and Representation. London: South

End Press.

Lott, Tommy L. (1998). ‘Hollywood and Independent Black Cinema’ in Neale,

Steve & Smith, Murray. (1998). Contemporary Hollywood Cinema, pp.,

211-228. London: Routledge.

Tasker, Yvonne. (1993). Spectacular Bodies: Gender, Genre & Action Cinema.

London: Routledge.

5 Essay Question: “Black identity has always been more emphatically expressed through clothes and appearance than white identity has”. (Bruzzi, 1997: 103) How is race and gender represented in visual culture? Discuss with reference to specific examples and at least 5 academic theories.

!12

Week Six: Celebrity & Identity How does the phenomenon of celebrity develop in society? Are stars

manufactured by the media or by their fans? We will analyse how celebrities

are constructed as contemporary role models by the media.

Readings:

Austin, Thomas & Barker, Martin. (Eds.) (2003). Contemporary Hollywood

Stardom. London: Arnold

Dyer, Richard. (1997). Stars as Images. In Stars. London: BFI

Eckert, C. (1990). The Carole Lombard in Macy’s Window. In Gaines, Jaine &

Herzog, Charlotte eds. Fabrications: Costumes and the Female Body. Lon-

don: Routledge.

Marshall, D.P. (1997). Celebrity and Power: Fame in Contemporary Culture.

Minneapolis Minn.: University of Minnesota Press

Stacey, Jackie. (1994). Star Gazing: Hollywood Cinema and Female Specta-

torship. London: Routledge.

Wilson, Julie, A. (2010). Star Testing: The Emerging Politics of Celebrity Gos-

sip. The Velvet Light Trap. No. 65. Spring. Available: http://muse.jhu.edu/jour-

nals/vlt/summary/v065/65.wilson.html

6. Essay Question:

“Stardom is an image of the way stars live [...] it combines the spectac-ular with the everyday, the special with the ordinary”. (Dyer, 1972: 35) How do media texts construct a star’s image? Discuss with reference to specific examples and at least 5 academic theories.

At the end of this session, sign up for one group tutorial next week or the

week after. To the tutorial, you will need to bring some ideas. This could be

images you would like to analyse in the essay, books you would like to use,

highlighted photocopies from the readings, spider-diagrams of points you

would like to include, a possible structure for your essay, DVDs you are plan-

ning to watch. Or, it could be a short list of questions you’d like to ask me.

!13

Week Seven: Essay Lecture Key advice on how to approach the essay, including:

- how to structure it

- what sorts of primary research to use

- how focused they need to be

- how many examples to write about

- the importance of analysing quotations from academic authors

- how to use the Harvard system of referencing

Remember: You must use at least 5 academic texts in your essay to sup-port your discussion.

There are no specific readings for this week but you may find these helpful:

Crème, P. & Lea, M. R. (2008) Writing at University: a guide for students 3rd

edn. Maidenhead: Open University Press Chapter 5, ‘Reading as Part of

Writing’ (e-book in the library):

http://site.ebrary.com/lib/ucreative/detail.action?docID=10229830

Fairbairn, G. J. & Fairbairn, S.A. (2001) Reading at University: a guide for

students. Maidenhead: Open University Press

http://ucca.ent.sirsidynix.net.uk/client/en_GB/default/search/detailnonmodal/

ent:$002f$002fSD_ILS$002f0$002fSD_ILS:128751/ada?qu=fairbain&te=ILS

Godfrey, Jeanne. (2013). How to Use Your Reading in Your Essays. London:

Palgrave

Also, you can access this free online session through the Open University –

they have a platform called ‘openlearn’ where units can be accessed by

everyone without needing to register or do a course with the Open University:

Open Learn session on reading at university:

http://www.open.edu/openlearn/history-the-arts/culture/literature-and-creative-

writing/reading/content-section-0

!14

Group Tutorials

In the last two weeks of the component there will be an Essay Lecture and your ONE Group Tutorial (in the Library first floor study area) to dis-cuss which essay question you want to answer, your proposed primary and secondary Research Sources, & how you plan to answer the ques-tion

To the tutorial, you will need to bring any research you have done so far. This

could be any of these:

- some of the images you would like to analyse in the essay, - notes on issues you want to critique in the submission, - books you would like to use, - themes you have found interesting from the Lectures, - highlighted photocopies from the recommended readings - notes you have been writing, - spider-diagrams/mindmaps of the points you would like to include, - a possible structure for your essay, - films/DVDs/fashion shows/documentaries you are planning to watch - a short list of questions you’d like to ask me

!15

How to Focus the Essay

Choose just ONE of the questions below, and write an essay of 2500 words, answering it by using ACADEMIC AUTHORS’ IDEAS and your own choice of primary research examples which can be very contempo-rary (i.e. going on at the moment) but they need to be from ONE type of visual or audio/visual culture. The academic authors can be from the Cultural Identities Lectures (you can find them all in this handbook) or other academic texts you have re-searched yourself.

Each essay question requires you to analyse and contextualise some images

as your examples from VISUAL and/or AUDIO CULTURE (e.g. a screengrab

from a music video).

The selection of images that you include in the essay needs to be logically

edited so that they do not span too many decades, genres of film, or styles of

music – it must be a FOCUSED selection.

You can choose images from almost any form of culture, publishing or enter-

tainment including:

• pop music videos, • youtube videos, • blogs, • twitter feeds, • packaging of products, • graphic novels, • outdoor advertising screens or posters (i.e. on bus stops), • magazines’ front covers or double-page spreads from inside, • catwalk photos, • shopping catalogues, • fine art, • or even computer gaming imagery or marketing,

but you must focus on ONE specific type of visual culture.

You must use at least 5 academic texts in your essay to support your discussion.

!16

Essay Questions

1.”[It is] not stereotypes that are wrong […] but who controls and defines them, and what interests they serve”. (Dyer, 1993: 12) Discuss with reference to specific examples in visual culture and at least 5 academic theories.

2.”Clothes are not just clothes … they are how the social world ‘reads’ and contextualises the individual”. (Bruzzi, 1997: 138) Discuss in relation to cross-dressing in specific examples of visual culture and at least 5 academic theo-ries.

3.”Women, both on and off the screen have been over-identified with their im-age”. (Bruzzi, 1997: 121) How does dress in visual culture contribute to the formation of feminine gender roles? Discuss with reference to specific exam-ples and at least 5 academic theories.

4. “Men’s bodies have never simply stood for sex; consequently their clothes never have either”. (Kidwell, & Steele, 1989: 81) How does dress define mas-culinity in visual culture? Discuss with reference to specific examples of visual culture and at least 5 academic theories.

5.”Black identity has always been more emphatically expressed through clothes and appearance than white identity has”. (Bruzzi, 1997: 103) How is race and gender represented in visual culture? Discuss with reference to spe-cific examples of visual culture and at least 5 academic theories.

6.”Stardom is an image of the way stars live […] it combines the spectacular with the everyday, the special with the ordinary”. (Dyer, 1972: 35) How do media texts construct a star’s image? Discuss with reference to specific ex-amples of visual culture and at least 5 academic theories.

!17

Bibliography

Arvidsson, Adam. (2005). Brands, A Critical Perspective. Journal of Consumer Culture. Vol. 5.Iss. 2. Pp. 235-258.

Austin, Thomas & Barker, Martin. (Eds.) (2003). Contemporary Hollywood Stardom. London: Arnold

Barthes, Roland. (1993). Mythologies. London: Vintage.

Berger, John. (1972). Ways of Seeing. Harmondsworth: Penguin.

Brennan, Niall, P. (2015). Authority, resistance, and representing national val-ues in the Brazilian television mini-series. Media, Culture, & Society. 27th March. Pp. 1-17.

Bruzzi, Stella. (1997). Undressing Cinema: Clothing and Identity in the Movies. London: Routledge.

Bruzzi, Stella. & Church Gibson, Pamela. Eds. (2000) Fashion Cultures. Lon-don: Routledge.

Bruzzi, Stella. (2000). Grace Kelly. In Bruzzi, Stella & Church Gibson, Pamela (eds.) Fashion Cultures, pp. 205-208. London: Routledge.

Buscombe, Edward. (2000). Cary Grant. In Bruzzi, Stella & Church Gibson, Pamela (eds.) Fashion Cultures. Pp. 201-204. London: Routledge.

Butler, Judith. (1990). Gender Trouble. London: Taylor & Francis

Chapman, R. & Rutherford, J. (1988). Male Order: Unwrapping Masculinity. London: Lawrence & Wishart.

Cohan, Steven & Hark, Ina Ray eds. (1993). Screening the Male: Exploring Masculinity in Hollywood Cinema. London: Routledge.

Coy, Maddy, Wakeling, Josephine, & Garner, Maria. (2011). Selling sex sells: Representations of prostitution and the sex industry in sexualised popular cul-ture as symbolic violence. Women’s Studies International Forum. Vol. 34. Iss. 5. Pp. 441-448. Available at: http://projectrespect.org.au/system/files/Selling+Sex+Sells.pdf

Craik, Jennifer. (1994). The Face of Fashion, Cultural Studies in Fashion. London: Routledge.

Davies, Alexander, K., Rogers, Laura, E., & Bryson, Bethany. (2014). Own It! Constructions of Masculinity and Heterosexuality on Reality Makeover Televi-sion. Cultural Sociology. 19th May. Pp. 1-17.

!18

Davis, Fred. (1992). Fashion, Culture and Identity. Chicago: University of Chicago Press.

Dyer, Richard (2002). The Matter of Images: Essays in Representation. Lon-don: Routledge.

Dyer, Richard. (1997). Stars. London: British Film Institute.

Easthope, A. (1997). What a Man’s Gotta Do: The Masculine Myth in Popular Culture. London: Routledge.

Eckert, C. (1990) The Carole Lombard in Macy’s Window. In Gaines, Jaine & Herzog, Charlotte (eds.) Fabrications: Costumes and the Female Body. Lon-don: Routledge.

Gabbard, K. (2001). “Someone is going to pay”: Resurgent White Masculinity in Ransom. In Lehman, Peter ed. Masculinity: Bodies, Movies, Culture, pp7-23. AFI Film Readers. London: Routledge.

Gaines, Jaine & Herzog, Charlotte eds. (1990). Fabrications: Costumes and the Female Body. London: Routledge.

Garber, Marjorie. (1993). Vested Interests Cross Dressing and Cultural Anxi-ety. Harmondsworth: Penguin.

Gill, Rosalind. (2008). Empowerment/Sexism: Figuring Female Sexual Agency in Contemporary Advertising. Feminism & Psychology. Vol. 18. Iss. 1. Pp. 35 – 60. Available at: http://facweb.northseattle.edu/avoorhies/Gender/Readings/Culture/Figuring%20Female%20Sexual%20Agency%20in%20Contempo-rary%20Advertising.pdf

Gill, Rosalind. (2009). Super-Sexualize Me: Advertising and the ‘Midriffs’. In Attwood, Feona. (ed). Mainstreaming Sex: The Sexualisation of Western Cul-ture. Pp. 93 – 110. London: I. B. Tauris.

Gilligan, Sarah. (2000). Gwyneth Paltrow. In Bruzzi, Stella & Church Gibson, Pamela (eds.) Fashion Cultures, pp.245-249. London: Routledge.

Hall, Stuart (ed.) Representation: Cultural Representations and Signifying Practices. London: Sage.

Hayward, Keith. & Yar, Majid. (2006). The ‘Chav’ Phenomenon: Consumption, Media and the Construction of a new Underclass. Crime, Media, Culture. Vol. 2. Iss. 1. Pp. 9-28.

Hearn, Alison. (2010). Reality Television, The Hills, and the Limits of the Im-material Labour Thesis. Cognition, Communication, Cooperation. Vol. 8. Iss. 1. Pp. 60-76. Available at: http://www.triplec.at/index.php/tripleC/article/view/206

Hollander, Anne (1994). Sex and Suits. Brinkworth: Claridge Press

!19

Hollows, Joanne (2000). Feminism, Femininity and Popular Culture. Man-chester: Manchester University Press

Holmlund, C. (1996). Masculinity as Multiple Masquerade: The ‘Mature’ Stal-lone and the Stallone Clone. In Cohan, Steven & Hark, Ina Ray (eds.) Screen-ing the Male: Exploring Masculinities in Hollywood Cinema, pp.213-229. Lon-don: Routledge.

Holmund, Chris. (2002). Impossible Bodies: Femininity and Masculinity at the Movies. London: Routledge.

hooks, bell. (1992). Black Looks: Race and Representation. London: South End Press.

James, Robin. (2015). Resilience & Melancholy. London: Zero.

Jeffords, Susan. (1996). Can Masculinity be Terminated? In Cohan, Steven & Hark, Ina Ray eds. Screening the Male: Exploring Masculinities in Hollywood Cinema, pp.245-262. London: Routledge.

Kaplan E. Ann (ed). (2001). Women in Film Noir. London: BFI

Kidwell, C. & Steele. V. (1989) Women & Men: Dressing the Part. NY: Smith-sonian

Lehman, Peter Ed. (2001). Masculinity: Bodies, Movies, Culture. London: AFI Film Readers, Routledge.

Lott, Tommy L. (1998). ‘Hollywood and Independent Black Cinema’ in Neale, Steve & Smith, Murray. (1998). Contemporary Hollywood Cinema, pp., 211-228. London: Routledge.

Manon, Hugh, S. (2005). Some Like It Cold: Fetishism in Billy Wilder's Double Indemnity. Cinema Journal. Vol. 44. No. 4. Pp. 18-43.

MacDonald, Myra. (1997). Representing Women: Myths of Femininity in the Popular Media. London: Arnold.

Marwick, Alice, & boyd, danah. (2011). To See and Be Seen: Celebrity Prac-tice on Twitter. Convergence The International Journal of Research into New Media Technology. Vol. 17. Iss. 2. Pp. 139-158. Available at: http://www.-tiara.org/blog/wp-content/uploads/2011/07/marwick_boyd_-to_see_and_be_seen.pdf

McRobbie, Angela. (1999). In the Culture Society: Art, Fashion and Popular Music. London: Routledge.

McRobbie, Angela & Nava, Mica eds. (1984). Gender and Generation. Bas-ingstoke: Macmillan.

Merck, Mandy (ed). (1992). The Sexual Subject: A Screen Reader in Sexuali-ty, London: Routledge.

!20

Neale, Steve. (1996). Prologue. Masculinity as Spectacle: Reflections on Men and Mainstream Cinema. In Cohan, Steven & Hark, Ina Ray eds. Screening the Male: Exploring Masculinities in Hollywood Cinema, pp.9-20. London: Routledge.

Neale, Steve & Smith, Murray. (1998). Contemporary Hollywood Cinema. London: Routledge.

Negra, Diana. (2004) "Quality Postfeminism?" Sex and the Single Girl on HBO. Genders. Issue 39. Available at: www.genders.org Accessed: 29/1/13

Negrin, Llewellyn. (2002). Cosmetic Surgery and the Eclipse of Identity. Body & Society. Vol. 8. Iss. 4. Pp. 21-42.

Nixon, Sean. (1996). Hard Looks: Masculinities, Spectatorship and Contem-porary Culture. New York: UCL Press.

Ouellette, Marc A., ""Hey, Look Me Over": (Re)Visioning and (Re)Producing Contemporary Masculinities" (2003). Open Access Dissertations and Theses. Paper 808. Available at: http://digitalcommons.mcmaster.ca/opendissertations

Pham, T. Minh-Ha. (2015) “I Click and Post and Breathe, Waiting for Others to See What I See”: On #FeministSelfies, Outfit Photos, and Net-worked Vanity. Fashion Theory. Volume 19. Issue 2. Pp. 221-242.

Radner, Hilary. (1998). ‘New Hollywood’s New Women’. In Neale, Steve & Smith, Murray. (1998). Contemporary Hollywood Cinema, pp., 247-262. Lon-don: Routledge.

Rees-Roberts, Nick. (2015). Raf Simons and Interdisciplinary Fashion from Post-Punk to Neo-Modern. Fashion Theory. Vol 19. Number 1. Pp. 9-42.

Schiermer, Bjorn. (2010). Fashion Victims: On the Individualizing and De-Indi-vidualizing Powers of Fashion. Fashion Theory. Vol. 14. Iss. 1. Pp. 83-104.

Stables, Kate. (2001). ‘The Postmodern Always Rings Twice: Constructing the Femme Fatale in 90s Cinema.’ In Kaplan E. Ann (ed). (2001). Women in Film Noir, pp., 164-182. London: British Film Institute.

Stacey, Jackie. (1994). Star Gazing: Hollywood Cinema and Female Specta-torship. London: Routledge.

Tasker, Yvonne. (1993). Spectacular Bodies: Gender, Genre & Action Cinema. London: Routledge.

Tasker, Yvonne. (1993). Working Girls: Gender & Sexuality in Popular Cine-ma. London: Routledge.

Tasker, Yvonne. (1996). Dumb Movies for Dumb People: Masculinity, the Body, and the Voice in Contemporary Action Cinema. In Cohan, Steven &

!21

Hark, Ina Ray. Screening the Male: Exploring Masculinities in Hollywood Cin-ema, pp.230-244 London: Routledge.

Wilson, Julie, A. (2010). Star Testing: The Emerging Politics of Celebrity Gos-sip. The Velvet Light Trap. No. 65. Spring. Available: http://muse.jhu.edu/jour-nals/vlt/summary/v065/65.wilson.html Accessed January 9th 2013.

!22

Study Advice

You can find Study Advice on MyUCA.

Your login is the same as your UCA com-puter and email login.

If you have any problems logging in, please contact the Library IT Open Ac-cess Desk.

If you want to make an appointment to see the Study Advisor, email:

Study Advice is available for any students who would like advice and guidance on how to develop written work or presenta-tions. This can be help with reading and note taking, developing ideas and struc-ture,research, planning, time manage-ment, producing academic writing and referencing and bibliography develop-ment.

Students who are diagnosed dyslexic and have tutorial support in place should not use the Study Advice service. To all International and EU students:

!23

English Language Support

You can have help with your assignments or just come to im-prove your conversational English on a 1:1 basis or as a small group in the LLRC.

To book your 30 - minute appointment, please contact: Stella Gibbons, English Language Support Co ordinator

Email: Telephone:Extension:

I can help with:

• Understanding assignment briefs• Discussing and organising ideas• Planning and organisational skills• Effective reading strategies• Note taking skills• Essay planning and construction• Language difficulties like grammar, spelling and expression• Academic vocabulary, tone and register• Referencing and presenting your work appropriately• English Language exam advice and preparation

!24