Lion and Lambs

2013 ◽  
pp. 396-416
Author(s):  
Carol Donelan ◽  
Ronald Rodman
Keyword(s):  
Digital Media ◽  
Young Women ◽  
Film Industry ◽  
Young Female ◽  
Pop Music ◽  
Female Desire ◽  
Hollywood Film ◽  
Musical Scores ◽  
Women And Girls ◽  
Music Market

This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson. With the advent of the Twilight Saga, the teen vampire subgenre has sunk its teeth into the blockbuster film franchise. Its migration into big-budget corporate cinema prompts a negotiation between the Hollywood film industry and the D-quadrant audience of young women and girls. The industry, for its part, has agreed to adopt a protective rather than predatory stance, offering young female viewers a PG-13 fantasy rather than exposing them to representations of sexual violence that “go too far,” are too threatening or age-inappropriate. At the same time, the industry not only acknowledges the existence of female desire, but represents its darker, uncanny dimensions. Newly composed musical scores play a major role in facilitating the experience of the uncanny for viewers without overshooting their tastes and sensibilities. The pop music in the films serves to initiate the audience into the adult music market.

French Cinema and the Integration of Young Women Actors of Maghrebi Heritage

2015 ◽  
Vol 54 (3) ◽  
pp. 297-311 ◽  
Author(s):  
Carrie Tarr
Keyword(s):  
Young Women ◽  
Film Industry ◽  
Young Female ◽  
Turn Of The Century ◽  
French Cinema ◽  
French Film ◽  
Career Trajectories ◽  
Award Winning

Since the turn of the century, three young female actors of Maghrebi heritage have achieved the award of Most Promising Newcomer (Meilleur espoir féminin) at the French film industry's annual César ceremonies: Rachida Krim in 2002 for her performance in Coline Serreau's Chaos (2001), Hafsia Herzi in 2008 for her performance in Abdellatif Kechiche's La Graine et le mulet/Couscous (2007), and Leïla Bekhti in 2011 for her performance in Tout ce qui brille/All That Glitters (2010), directed by Géraldine Nakache and Hervé Mimran. On the assumption that this award may be indicative of the growing visibility of Maghrebi-French female actors at the centre of the French film industry, this article traces the career trajectories of these three actors and their contribution to representations of gender, ethnicity and identity in contemporary multi-ethnic postcolonial France from their award-winning roles through to their most recent performances, both in France and in a transnational context.

Married young women and girls' family planning and maternal heath preferences and use in Ethiopia

2017 ◽  
Author(s):  
Aparna Jain ◽  
Elizabeth Tobey ◽  
Hussein Ismail ◽  
Annabel Erulkar
Keyword(s):  
Family Planning ◽  
Young Women ◽  
Women And Girls

scholarly journals Lives Interrupted: Navigating Hardship During COVID-19 Provides Lessons in Solidarity and Visibility for Mobile Young People in South Africa and Uganda

2021 ◽  
pp. 146499342199820
Author(s):  
Thembelihle Zuma ◽  
Rachel King ◽  
Nothando Ngwenya ◽  
Francis Xavier Kasujja ◽  
Natsayi Chimbindi ◽  
...  
Keyword(s):  
South Africa ◽  
Young People ◽  
Social Environment ◽  
Young Women ◽  
Sex Workers ◽  
Virtual World ◽  
Female Sex Workers ◽  
Young Female ◽  
Social Forces ◽  
Need Support

We examine data from young women and men in South Africa and young female sex workers in Uganda to explore the inequalities and hardships experienced during the COVID-19 pandemic and investigate the opportunities and ability presented to navigate in a virtual world to build an inclusive supportive future for young people on the move. We argue that against the backdrop of a fragile past, young people who see their today disturbed, tomorrow reshaped and their futures interrupted, need support to interact with their social environment and adjust their lives and expectations amidst the changing influences of social forces.

A Narrative Critical Review of Research on Self-Sexualization

2021 ◽  
pp. 0887302X2110042
Author(s):  
Kim K. P. Johnson ◽  
Ui-Jeen Yu
Keyword(s):  
Young Women ◽  
Time Frame ◽  
Journal Articles ◽  
Data Bases ◽  
Self Presentation ◽  
Sexual Appeal ◽  
Search Terms ◽  
Multiple Data ◽  
Women And Girls ◽  
Self Objectification

Self-sexualization is an emerging area of research relevant to clothing researchers as evaluations of sexual appeal often stem from specific items and uses of dress. Our research purpose was to systematically review the available research on self-sexualization. In our review we focused specifically on three topics: what precedes self-sexualizing? What outcomes are associated with self-sexualizing? And how has self-sexualization been operationalized? The time frame for this review was 2007–2020. To locate the 31 journal articles that supplied the data for this research, multiple data bases were searched using the following search terms: self-sexualization, self-sexualizing, and sexual self-presentation. Important precursors to self-sexualization include exposure to media and social media, self-objectification, internalization of sexualization, and desiring attention from others. Empowerment has been studied as an outcome of self-sexualization along with negative inferences concerning both young women and girls that self-sexualize. Operationalization of self-sexualization is varied and likely contributes to inconsistent findings.

The Culture of the Sound Image in Prewar Japan

2020 ◽  
Keyword(s):  
Popular Music ◽  
Film Industry ◽  
Pop Music ◽  
Japanese Cinema ◽  
Electronic Sound ◽  
Recorded Sound ◽  
Sound Image ◽  
Visual Style ◽  
Sound Technology ◽  
Sound Culture

This collection of essays explores the development of electronic sound recording in Japanese cinema, radio, and popular music to illuminate the interrelationship of aesthetics, technology, and cultural modernity in prewar Japan. Putting the cinema at the center of a ‘culture of the sound image’, it restores complexity to a media transition that is often described simply as slow and reluctant. In that vibrant sound culture, the talkie was introduced on the radio before it could be heard in the cinema, and pop music adaptations substituted for musicals even as cinema musicians and live narrators resisted the introduction of recorded sound. Taken together, the essays show that the development of sound technology shaped the economic structure of the film industry and its labour practices, the intermedial relation between cinema, radio, and popular music, as well as the architecture of cinemas and the visual style of individual Japanese films and filmmakers.

'The weekend starts here': young women, pop music television and identity

Screen ◽  
2013 ◽  
Vol 54 (2) ◽  
pp. 262-269
Author(s):  
H. Collie ◽  
M. Irwin
Keyword(s):  
Young Women ◽  
Pop Music ◽  
Music Television

scholarly journals MEDIA EDUCATION: the fight against post-truth and misinformation on trafficking in women and girls

2020 ◽  
Vol 6 (6) ◽  
pp. a6en
Author(s):  
Sandra de Souza Machado ◽  
Begoña Sánchez Torrejón ◽  
Víctor Amar Rodríguez
Keyword(s):  
Gender Studies ◽  
Media Literacy ◽  
Young Women ◽  
21St Century ◽  
Gender Violence ◽  
Media Education ◽  
Fake News ◽  
Global Pandemic ◽  
Trafficking In Women ◽  
Women And Girls

Data, discursive and methodological analysis, from the perspective of Communication and Education gender studies, are applied aiming media literacy for a responsive citizenship in the fight against trafficking in women and girls. Questioning gender violence in misinformation, fake news, post-truths, and malicious intentions. Media literacy, co-education and collective awareness function as strategies of action to combat the trafficking of (young) women, which reaches alarming degrees in the 21st century, including during the global pandemic of COVID-19.

scholarly journals "You can never be on one side alone": Some Young Somali-Kiwi Women's Narratives about Identity, Resettlement and Community Development in Wellington, Aotearoa New Zealand

2021 ◽  
Author(s):  
◽  
Emily Kathryn James
Keyword(s):  
New Zealand ◽  
Young Women ◽  
Support Services ◽  
Qualitative Methodology ◽  
Young Female ◽  
Key Informants ◽  
Main Research ◽  
Individual Interviews ◽  
Somali Women ◽  
The Government

<p>This research investigates how young Somali women are navigating through the resettlement process while negotiating their own identities in Wellington, New Zealand. It is important as it addresses two main research gaps: 1) it focuses on research with young Somali women at university and 2) it offers a strength-based analysis. The research also addresses important development concerns about how former refugees can better contribute into their host societies. Employing the use of participatory methods within a feminist qualitative methodology, I created a project that enabled the young women to voice their opinions regarding identity construction, cultural maintenance and their goals for the future.  I conducted approximately 150 hours of ethnographic research at organisations that catered to former refugee needs. I found a young female Somali student who worked as my Cultural Advisor and enhanced my credibility and access within the Somali community. I then conducted a focus group and five individual interviews with young Somali women to hear their narratives about their resettlement experience and their advice on how to improve the process for others. I conducted five interviews with key informants at organisations that provide support services for former refugees. The key informants gave the policy perspective on refugee resettlement as well as advice on how support services and the government can approve the transition for former refugees.  The results of this study revealed that the young women did feel tension at times negotiating their Somali culture and that of their host society but found benefits in both. The importance of the family resettling successfully was vital for the young women especially the wellbeing of their mothers and other female elders. The key informants echoed these sentiments and voiced the necessity for more women-focused support services. The young women also will be facing a second resettlement process through their emigration to Australia as they search for more job opportunities and a better Somali cultural connection.</p>

scholarly journals The Characteristics of Risk Factors in Chinese Young Women with Acute Coronary Syndrome

2020 ◽  
Author(s):  
Ruifang Liu ◽  
Fangxing Xu ◽  
Yujie Zhou ◽  
Tongku Liu
Keyword(s):  
Risk Factors ◽  
Family History ◽  
Young Women ◽  
Early Onset ◽  
Young Female ◽  
Cardiac Insufficiency ◽  
Control Group ◽  
Significant Difference ◽  
Gynecological Diseases ◽  
History Of

Abstract Background In recent years, the prevalence rate of ACS in Chinese young women has been increasing significantly, becoming the main cause of death in young female. This study aimed to investigate the characteristics and difference of risk factors in Chinese young women with ACS and to provide references for ACS prevention and treatment. Methods A 1:1 case-control study was conducted to evaluate risk factors of 415 young female patients with ACS (ACS group) who underwent PCI treatment and 415 young female cases without ACS (control group) who were hospitalized and confirmed by coronary angiography to exclude coronary heart disease from January 2010 to August 2016. The average age of the cases in the two groups was respectively (40.77±4.02) years-old and (40.57±4.01) years-old (P> 0.05). Results The risk factors in ACS group were overweight (64.10%), hypertension (49.88%), hyperlipidemia (35.66%), diabetes (23.37%), depression or anxiety disorder (16.62%), gynecological diseases (16.39%), Hyperuricemia (15.18%), family history of early onset coronary heart disease (14.94%), hyperhomocysteinemia (11.33%), hypothyroidism(14.96%), hypercholesterolemia (8.43%) and high c-reactive protein (7.47%), and were statistically significant difference (P<0.01) compared with that of control group. The average number of risk factors per case in ACS group was significantly more than that of control groups (P<0.01). There was a statistically significant difference in the number of combined risk factors of the overweight cases compared between two groups (P<0.01). Regression analysis showed that hyperlipidemia, hyperhomocysteinemia, overweight（obesity）, high CRP, hypertension, hypothyroidism, gynecological diseases, depression or anxiety, cardiac insufficiency, hypercholesterolemia, diabetes, oral contraceptives, family history of early onset CHD, and autoimmune diseases were independent risk factors (P<0.01). The bivariate correlation analysis between CRP level and age was r= -0.158 (P<0.01). This result showed the younger ACS patient is the higher serum CRP. Conclusion The independent risk factors of ACS in young women are hyperlipidemia, hyperhomocysteinemia, overweight, high CRP, hypertension, hypothyroidism, gynecological diseases, depression or anxiety, cardiac insufficiency, hypercholesterolemia, diabetes, oral contraceptives, family history of early onset CHD, and autoimmune diseases. The co-existence of multiple risk factors is the main cause suffering from ACS in young women.

Soviet Film

2019 ◽  
pp. 63-74
Author(s):  
Lisa Nanney
Keyword(s):  
Political Action ◽  
Film Industry ◽  
Short Film ◽  
Independent Film ◽  
Hollywood Film ◽  
Avant Garde ◽  
Critical Response ◽  
Film Treatment ◽  
Film Productions ◽  
The Masses

Dos Passos’s adaptation of cinematic methods to literary style beginning in the mid-1920s emerged further in his work after he visited Russia in 1928. Tepid public and critical response to New Playwrights dramas motivated Dos Passos to explore how the revolutionary state-supported Russian theater and film productions had engaged the masses, united them politically, and produced groundbreaking artists. In dramatist Meyerhold’s avant-garde theater, Constructivist industrial sets and “biomechanical” acting techniques created successful dramas about and for workers. Dos Passos observed that cinematic innovations emerged from the Soviet-controlled studios despite the state’s use of film as its primary tool of mass ideological education. Though Lenin, then Stalin increasingly controlled film productions and artists, Soviet filmmakers nonetheless evolved theories of montage that became foundational in filmmaking and informed Dos Passos’s modernist novels and his 1936 independent film treatment “Dreamfactory,” with its meta-filmic exposé of the Hollywood film industry. In particular, these works registered the formal and conceptual innovations of two directors: Eisenstein, whose films combined fiction and history to effect political action through art; and Vertov, whose films acknowledged the artist’s vision as controlling the camera “eye” and who embedded in one short film an auto-critique of movie-making.

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