Gender Coding

2018 ◽  
pp. 1541-1542
Author(s):  
Roger J. R. Levesque
Keyword(s):  
Gender Coding

Gender Coding

2011 ◽  
pp. 1125-1126
Author(s):  
Roger J. R. Levesque
Keyword(s):  
Gender Coding

scholarly journals WITH SHINING EYES: WATCHING AND BEING WATCHED IN SARAH WATERS’S "TIPPING THE VELVET"

2015 ◽  
Vol 40 (1) ◽  
pp. 151
Author(s):  
Viktorija Krombholc
Keyword(s):  
Sexual Difference ◽  
Film Theory ◽  
The Novel ◽  
Male Gaze ◽  
Feminist Film Theory ◽  
The Gaze ◽  
Male Clients ◽  
Cross Dressing ◽  
Social Views ◽  
Gender Coding

The aim of this paper is to explore the dynamics of looking and being looked at in Sarah Waters’s Tipping the Velvet. The analysis is theoretically framed by feminist film theory and the concept of the male gaze. According to Laura Mulvey, classic narrative cinema reflects social views on sexual difference and reaffirms the active male/passive female binary. The novel raises the issue of what happens with the gaze when the protagonists are non- heteronormative, a question further made complex by the theme of cross-dressing, which destabilizes visual gender coding and makes it unreliable. The female narrator is infatuated with a male impersonator only to become one herself, and the visual interaction that spurs their sexual relationship on does not fit neatly into Mulvey’s analysis, as both the bearer of the gaze and its object are female, a woman coded as masculine. The male gaze is further deconstructed as the main female character becomes a prostitute, passing for male and working with male clients. Finally, the novel questions the controlling aspect of the gaze implicit in Mulvey’s essay, as the gaze is reimagined as a potential source of power to be desired and invited.

Policy Implications for Female Combat Medic Assignment

2011 ◽  
Vol 38 (3) ◽  
pp. 500-512 ◽  
Author(s):  
Lawrence V. Fulton ◽  
Matthew S. Brooks ◽  
Timothy K. Jones ◽  
Matthew J. Schofield ◽  
Hershell L. Moody
Keyword(s):  
Combat Exposure ◽  
Policy Implications ◽  
Low Density ◽  
Current Policy ◽  
Military Leaders ◽  
Us Army ◽  
The Us ◽  
Combat Medics ◽  
Gender Based ◽  
Gender Coding

The current military assignment policy of United States prohibits the assignment of females to billets with high risk of combat exposure. As part of an Army review of this policy, the authors analyzed deployment and promotion risk for combat medics. The effect of current policy on male deployment and female promotion risk was unknown. In light of other countries’ policies and current operational considerations, senior military leaders sought to understand the effects of existing policy on a low-density, high-value occupational specialty, the combat medic. The authors found evidence that male medics deployed 2.07 times more frequently than female medics. The authors also found evidence that senior male medics (staff sergeants) deployed even more frequently (3.65–1) than their female counterparts. Perhaps as a result, the male combat medics experience higher likelihood of promotion from staff sergeant (E-6) to the rank of sergeant first class (E-7); however, the magnitude of that benefit was about one-third of the deployment risk. The results confirm the existence of gender-based deployment risk and promotion disparity. Based upon this analysis, the authors recommended the deprecation of current gender coding for combat medics to the senior levels of the US Army.

Gender and Cartoons from Theaters to Television: Feminist Critique on the Early Years of Cartoons

Animation ◽  
2018 ◽  
Vol 13 (1) ◽  
pp. 20-34
Author(s):  
Katia Perea
Keyword(s):  
Early Years ◽  
Feminist Critique ◽  
Social Critique ◽  
Animation Industry ◽  
Television Programming ◽  
Popular Art ◽  
The Social ◽  
Art Community ◽  
The Witch ◽  
Gender Coding

From adults to children, from theaters to television, cartoons are one of the few major popular art forms that have been able to consistently redefine their audience as they experiment and change and, as such, have proved their importance in culture and society. This article discusses the social critique that originated with cartoons’ theatrical beginnings, which were met with substantial praise from the intellectual and art community of their time. An exploration into the massification of the medium reveals its role in the marginalization of women in the animation industry as underpaid and unrecognized labor. This article also explores the industry’s creation of a compulsory gender coding associated with the animated female form by investigating Disney’s and Warner Bros.’ competing portrayals of women as a ‘madonna–whore’ duality, and further looks into Disney’s feminine triptych perpetuating heteronormative gender coding in the form of the princess, the witch and the fairy godmother. The massification of the medium, as television programming shaped the industry into children’s programming, was led by Hanna-Barbera who did not consider girl cartoons a priority and continued to marginalize women in the workforce.

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