Reproduction of the female image and nationalism in Taiwanese sport documentaries

2016 ◽  
Vol 51 (8) ◽  
pp. 897-916 ◽  
Author(s):  
Yu-Hsien Tseng

In Taiwan, female athletes receive little media attention or are objectified when they win international competitions. However, this objectification does not merely demonstrate sexism toward female athletes, but it also indicates current social views toward national identity and nationalism in Taiwan. This study examined the representation of female athletes from the perspectives of historical background, the narrative structure of documentaries, gendered discourse and gendered nationalism. A textual analysis approach was adopted and documentary theory was employed as a theoretical framework. Four sports documentaries regarding female athletes produced from 2002 to 2009 were analysed. The results showed that in addition to the female athletes telling their stories, the voices of male others were also included to portray the female athletes’ experiences. Moreover, the female athletes were depicted as physically masculine but emotionally feminine, and represented as sports heroines and daughters of Taiwan. As presented by the narration strategy, the female body embodies the gendered nationalism and gendered discourse pervading Taiwanese sports culture.

2017 ◽  
Vol 6 (2) ◽  
pp. 154-174 ◽  
Author(s):  
Qingru Xu ◽  
Andrew Billings ◽  
Minghui Fan

Communist beliefs on gender equality and Chinese female athletes’ consistent ability to win national glory have lead to female athletes in Chinese sports media being primarily portrayed as legitimate athletes akin to levels of male athletes. This study examines such assumptions within Chinese Central Television’s (CCTV) 2016 Olympic telecast of gymnastics, a sport in which Chinese female athletes failed to attain national expectations, exploring potential variations of gendered frames in Chinese sports culture. A full examination of 100% (over 14 hr) of CCTV’s broadcast coverage revealed that female athletes received less media attention in terms of clock time and name mentions. Regarding word-by-word commentary ascribed to the gymnasts, CCTV employees significantly devoted more descriptors related to personality and physicality to female athletes, indicating a noticeable deviation from the Chinese traditional gendered frame of depicting female athletes as tenacious fighters with their nonsport-related aspects rarely covered. Implications for the findings are offered.


1997 ◽  
Vol 14 (3) ◽  
pp. 290-301 ◽  
Author(s):  
Riitta M. Pirinen

This study analyzed the treatment of female athletes in Finnish women’s magazines. The purpose was to examine how media representations constructed hierarchic relations between women. Furthermore, the aim was to examine how the construction and legitimation of the hierarchy between women and the gender hierarchy are interwoven with each other. Finally, the study discussed the possibilities to challenge, resist, and transform the ideological construction of these hierarchic relations. Briefly, the study demonstrated the ways in which media texts may both construct disempowering positions and also offer recourses of empowering positions for women.


Panggung ◽  
2016 ◽  
Vol 26 (3) ◽  
Author(s):  
Arda - Muhlisiun

AbstrakFilm nasional merujuk pada pengertian identitas nasional. Dia bisa disebut nasional karena representasi identitas itu bisa menunjukkannya. Film Usmar Ismail (Darah dan Doa, 1950) disebut sebagai (gagasan) film nasional karena diwacanakan sebagai film yang “asli” Indonesia.Melalui analisa tekstual bisa didapatkan satu pengertian diskursif-performatif atas film nasional, yang sesungguhnya telah menjadi “mitos” terhadap film Usmar Ismail ini. Untuk memperjelas pengertian film nasional, sekaligus sebagai upaya mendeskripsikan wacana film nasional atas film Usmar Ismail ini digunakan konsep film nasional yang ditawarkan oleh Jinhee Choi tentang pengertian film nasional yang menurutnya bisa berdasarkan nilai teritori, nilai fungsional dan nilai relasional. Hasil analisa yang didapatkan dari penelitian ini menemukan bahwa gagasan film nasional atas film Usmar Ismail memang lebih berkutat pada kekuatan wacana yang mengelilinginya, terutama Usmar Ismail yang memang menjadi faktor determinan dalam lahirnya gagasan film nasional Indonesia.Kata Kunci : Film Nasional, Usmar Ismail, Darah dan DoaAbstractA national film suggestived towards the ideas of national identity. It can be labelled ‘national’ because the representation of national identity pertains to it. Usmar Ismail’s film was described as a national film because it presents genuine Indonesian. Through the textual analysis that discursive-performative understanding of national films can be achieved; an understanding that has become a myth in context to Usmar Ismail’s film.In order to clarified concepts of national film as well as to illustrate the discourse of national films in Usmar Ismail’s work, this analysis used JinHee Choi’s theory of national cinema. In which national film was theorized based on territorial, functional and relational factors.The findings of this analysis showed how the concept of national film in Usmar Ismail’s film actually struggles against the dominant discourse of its time particularly in terms of Usmar Ismail’s figure as a determining factor in establishing national films in Indonesia.Keyword : National Cinema, Usmar Ismail, Darah dan Doa 


2018 ◽  
Vol 166 ◽  
pp. 99-107
Author(s):  
Shino Maeda

Image of maternal love in Grigory Chukhray’s The QuagmireMemories of the Great Patriotic War contributed to the making of a national identity in Soviet Russia, and clear gender roles are evident in Soviet propaganda war art. The image of male soldiers demonstrates the obligation to defend the fatherland against the outside enemy. On the other hand, there are images of a mother cheering for her son or a mother lamenting over a fallen soldier. It is clear that the female image belongs to the reproductive function of motherhood. The establishment presents an ideal and urges the public to internalize it by themselves. Grigory Chukhray’s film The Quagmire’s 1977 mother, however, hides her young son, who was conscripted to the front. The  film casts doubt on the Soviet war myth and asks “Why do mothers have to be reconciled to lose their sons in order to defend the fatherland?” That’s why the military purged the film from the screen. Obraz miłości macierzyńskiej w filmie Grigorija Czuchraja TrzęsawiskoWspomnienia i obrazy Wielkiej Wojny Ojczyźnianej odegrały ważną rolę w kształtowaniu tożsamości obywateli Rosji Radzieckiej. W sowieckiej propagandzie wojennej wyraźnie widać hierarchię genderową. Wizerunek żołnierza mężczyzny odnosi się do obowiązku obrony ojczyzny przed zewnętrznym wrogiem. Natomiast wizerunek matki wiwatującej na cześć zwycięstwa syna lub rodzicielki lamentującej nad poległym żołnierzem kojarzony jest z macierzyństwem. Film Grigorija Czuchraja Trzęsawisko Трясина opowiada historię matki ukrywającej powołanego do wojska i wezwanego na front syna. Film, który wkrótce po premierze wycofano z  dystrybucji, stawia pytania dotyczące funkcjonowania radzieckich mitów wojennych oraz sytuacji kobiet, które nie chcą się pogodzić ze śmiercią swych synów broniących ojczyzny.


2015 ◽  
Vol 10 (1) ◽  
pp. 5-23
Author(s):  
Raissa De Gruttola

Abstract Christian missionaries play an important role in the history of the relationship between China and Europe. Their presence in China has been widely explored, but little attention has been paid to the role played by the Bible in their preaching. From 13th to 19th century, although they did not translate the Bible, Catholic missionaries preached the Gospel orally or with catechisms. On the other hand, the Protestant missionaries had published many version of the Chinese Bible throughout the 19th century. It was only in the 20th century that the Franciscan friar Gabriele Allegra decided to go to China as a missionary to translate the Holy Scriptures into Chinese. He arrived in China in 1931 and translated from 1935 to 1961. He also founded a biblical study centre to prepare expert scholars to collaborate in the Bible translation. Allegra and his colleagues completed the translation in 1961, and the first complete single-volume Catholic Bible in Chinese was published in 1968. After presenting the historical background of Allegra’s activity, a textual analysis of some passages of his translation will be presented, emphasizing the meanings of the Chinese words he chose to use to translate particular elements of Christian terminology. This study will verify the closeness of the work by Allegra to the original Greek text and the validity of some particular translation choices.


2016 ◽  
Vol 53 (4) ◽  
pp. 393-410 ◽  
Author(s):  
Ali Bowes ◽  
Alan Bairner

It has been claimed that the one place Englishness exists is on the sports field, and usually it is men’s sport that appears central to creating a sense of English national identity. However, in light of England’s sporting success across multiple women’s sports (namely cricket, netball, association football and rugby union), there warrants a need to begin to question the place of these female athletes in discussions of the nation. Drawing on extensive interview data with women who have represented England at sport, this paper seeks to ‘give a voice’ to these women whose experiences have often been ignored by both the popular press and academics alike. This research discusses the way in which English women represent their nation, both on the field of play and more broadly, and sheds light on the complexity of the intersections of gender and national identity. Attention is also paid to the role of women as warriors in the conventional sense. It is argued that, through playing international, representative sport, the women actively embody the nation, with national identity often overriding gendered identity in these instances. In this sense, they become proxy warriors for the nation.


Adeptus ◽  
2015 ◽  
pp. 19-39
Author(s):  
Tatiana Busygina-Wojtas

National identity and conflicts in Polish-Russian marriages Conflicts concerning the shared Polish-Russian historical background and attitude towards it with the politics involved in it are a frequent issue in Polish-Russian marriages. These are the reasons these conflicts can frequently lapse into family quarrels. The conflicts are closely examined in their progress and analyzed from different perspectives, referring both to national identity and the historical memory agendas. In this paper we also present some examples of the most typical misunderstandings that may take place. The main factor is the difference in identity models, and as a consequence, the failure to understand the logic of one’s opponent’s arguments. Information asymmetry as well as the well-known habitual ways of historical conceptualization of events and figures interfere in the successful cognition and enclose the spouses in a rigid frame of their own native models. In this context the biggest problems appear at the level of interpretation and categorization of the object of the discussion. Both Poles and Russians refer to different fundamentals while talking about independence, war and homeland, and this can lead to complete  misunderstandings. Each couple has their own way of lessening the ideological conflicts. The first strategy the spouses will consider is to avoid talking about conflicting subjects up to an absolute taboo on the subject. The other strategy is related to auto-education, self-reflection, conscientious reappraisal of judgments and, eventually, open-mindedness. The effort put into this leads to the creation of a new, mutual way of looking at the above mentioned difficult themes.Tożsamość narodowa a konflikty w małżeństwach polsko-rosyjskich Konflikty, których zarzewiem są rozmowy o historii i polityce w aspekcie stosunków polsko-rosyjskich, to bardzo częsty problem małżeństw polsko-rosyjskich. W artykule omówione zostały przyczyny i przebieg takich dyskusji (nierzadko przeistaczających się w awantury) z perspektywy problematyki tożsamości narodowo-kulturowej oraz pamięci historycznej. Przytoczone zostały również przykłady najbardziej typowych nieporozumień. Kluczowym czynnikiem jest odmienność wzorców konstruowania tożsamości. Konsekwencją tych różnic jest niezdolność do głębszego rozumienia argumentacji rozmówcy. Asymetria wiedzy na poziomie znajomości faktów oraz przywiązanie do rodzimych wzorców oceny wydarzeń i postaci historycznych zaburza proces przyswajania nowych informacji i zamyka w sztywnych ramach nabytych schematów myślenia. Najpoważniejsze problemy we wzajemnym rozumieniu swoich racji powstają na poziomie interpretacji i kategoryzacji zjawisk. Snując rozważania o swojej przynależności do ojczyzny, Polacy i Rosjanie odwołują się do zupełnie innych kategorii wartościujących. Każda para opracowuje własną strategię radzenia sobie z konfliktami ideologicznymi. Rozwiązaniem stosowanym najczęściej jest unikanie jakichkolwiek rozmów na drażliwy temat, aż do jego całkowitej tabuizacji. Druga strategia zakłada samoedukację, autorefleksję, przewartościowanie własnych poglądów i otwartość na tezy głoszone przez małżonka. Włożony w te działania świadomy wysiłek prowadzi do wypracowania nowego, wspólnego spojrzenia na trudne tematy.


Author(s):  
Georgy P. Melnikov

The culture of the Czech National Revival produced a symbolic autoidentification in figures of the Plowman and the Music. The drawings of J. Mánes and the sculptures of J. Myslbek perpetuated these figures as gender symbols of the Czech identity. The figures of the Plowman and the Music are presented in the Mánes’ drawing “Domov”. The semantics of the drawing is versatile, which provides an impulse for its culturological interpretation. A symbolic figure of the Plowman in historical and cultural consciousness of Czechs has been associated with Přemysl the Ploughman — the legendary founder of the Přemyslid dynasty. According to the Czech legend told by Cosmas of Prague, Přemysl was elected the prince upon the request by the Czech ruler Libuše, who then married him. The title of the drawing refers to the song of J. K. Tyl, which had become somewhat of an unofficial Czech anthem of the 19th century. In the Mánes’ drawing Libuše is substituted by a symbolic figure of the Music as a personification of the national genius of Czechs. Historical-patriotic connotations generate the image of the Czech people, which formed in the epoch of the National Revival. Moreover, the Czech identity manifested itself in gender as a harmony of the male and female principles, work, and music. The idea of organic work as the basis of art is introduced into the drawing`s composition. A series of Mánes’ drawings “The Music” came to be a vivid embodiment of the national identity, showing the life of a peasant accompanied by music from birth till death. The Myslbek’s sculpture “The Music”, which became lobby`s centerpiece of a new Czech sacred place — The National Theater in Prague, is presented as a personification of the Czech identity in culture. A female image of the Music is identified with the soul of the people in a state of sociocultural and political emancipation.


2012 ◽  
Vol 2 (1) ◽  
pp. 58-76
Author(s):  
Murat Akser

This is a reading of David Mulholland Drive through psychoanalytic approach of Lacan from the perspective of formation of fantasy and shifting identities. Lynch constructs his films consciously choosing his themes from the sub(versive/conscious) side of human mind. Previous attempts to read Lynch's films are fixed around the idea that Lynch is using film genres to create postmodern pastiches. Mulholland Drive has been analyzed several times from different approaches ranging from gender (Love, 2004), narratology (Lentzner, 2005; McGowan, 2004; Cook, 2011). Elements of film noir, musical, caper films can be identified in Lynch’s films. This detailed textual analysis intends to rationalize Lynch’s narrative structure through Lacanian terms in reference to Zizekian terminology.


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