scholarly journals Villains and Vixens: The Representation of Female Vampires in Videogames

Oceánide ◽  
2020 ◽  
Vol 12 ◽  
pp. 85-93
Author(s):  
Daniel Escandell Montiel ◽  
Miriam Borham Puyal
Keyword(s):  
Popular Culture ◽  
Violence Against Women ◽  
Gender Attitudes ◽  
Female Figures ◽  
The Media ◽  
Narrative Medium

Vampires populate our culture and have become a recurrent presence in fiction and the media. In all cases the inclusion of the vampire has given voice to “socio-culture issues faced in particular times and places; issues that may otherwise remain repressed” (Dillon and Lundberg 2017, 47). This socio-cultural subtext is complicated when the vampire is female, for she is now doubly othered by her gender. Her monstrosity is seen as twofold: as a vampire and as a transgressive woman. While many studies address female vampires in popular culture, their portrayal in videogames has been recurrently overlooked. Games potentially help shape gender attitudes in thousands of players; therefore, it is particularly relevant to examine the varied representations of these monstrous or othered female figures and to understand how they adhere to or challenge misogynistic readings of women and their bodies. In light of this, and interpreting videogames as a narrative medium, this article provides an analysis of significant vampiric videogames and discusses the female vampire in relation to violence against women and postfeminist agendas, following a narrative rather than ludology approach.

Murder with Impunity: The Construction of Arab Masculinities and Honor Crimes

1970 ◽  
pp. 38-45
Author(s):  
May Abu Jaber
Keyword(s):  
Violence Against Women ◽  
Social Boundaries ◽  
Religious Institutions ◽  
The Social ◽  
The Family ◽  
The Media ◽  
The One ◽  
Male Authority ◽  
Cultural Networks ◽  
Gender Specific

Violence against women (VAW) continues to exist as a pervasive, structural,systematic, and institutionalized violation of women’s basic human rights (UNDivision of Advancement for Women, 2006). It cuts across the boundaries of age, race, class, education, and religion which affect women of all ages and all backgrounds in every corner of the world. Such violence is used to control and subjugate women by instilling a sense of insecurity that keeps them “bound to the home, economically exploited and socially suppressed” (Mathu, 2008, p. 65). It is estimated that one out of every five women worldwide will be abused during her lifetime with rates reaching up to 70 percent in some countries (WHO, 2005). Whether this abuse is perpetrated by the state and its agents, by family members, or even by strangers, VAW is closely related to the regulation of sexuality in a gender specific (patriarchal) manner. This regulation is, on the one hand, maintained through the implementation of strict cultural, communal, and religious norms, and on the other hand, through particular legal measures that sustain these norms. Therefore, religious institutions, the media, the family/tribe, cultural networks, and the legal system continually disciplinewomen’s sexuality and punish those women (and in some instances men) who have transgressed or allegedly contravened the social boundaries of ‘appropriateness’ as delineated by each society. Such women/men may include lesbians/gays, women who appear ‘too masculine’ or men who appear ‘too feminine,’ women who try to exercise their rights freely or men who do not assert their rights as ‘real men’ should, women/men who have been sexually assaulted or raped, and women/men who challenge male/older male authority.

Entertainment publics in the Philippines

2021 ◽  
pp. 1329878X2098596
Author(s):  
Anna Cristina Pertierra
Keyword(s):  
Social Media ◽  
Popular Culture ◽  
Digital Technologies ◽  
The Philippines ◽  
Political Capital ◽  
Martial Law ◽  
Entertainment Media ◽  
Digital Era ◽  
The Media ◽  
Entertainment Television

Since the late 1980s, Filipino entertainment television has assumed and maintained a dominance in national popular culture, which expanded in the digital era. The media landscape into which digital technologies were launched in the Philippines was largely set in the wake of the 1986 popular movement and change of government referred to as the EDSA revolution: television stations that had been sequestered under martial law were turned over to family-dominated commercial enterprises, and entertainment media proliferated. Building upon the long development of entertainment industries in the Philippines, new social media encounters with entertainment content generate expanded and engaged publics whose formation continues to operate upon a foundation of televisual media. This article considers the particular role that entertainment media plays in the formation of publics in which comedic, melodramatic and celebrity-led content generates networks of followers, users and viewers whose loyalty produces various forms of capital, including in notable cases political capital.

scholarly journals THE PROBLEM OF ALIENATION OF PEASANTS FROM THE LAND IN THE PERIOD FROM THE MID-1960s TO THE MID-1980s THROUGH THE PRISM OF “VILLAGE PROSE” WRITERS’ JOURNALISTIC WORKS

2021 ◽  
Vol 31 (4) ◽  
pp. 812-822
Author(s):  
D. V. Ivanchuk
Keyword(s):  
Popular Culture ◽  
Agricultural Production ◽  
Negative Impact ◽  
Complex Nature ◽  
Historical Sources ◽  
Agrarian Policy ◽  
Inferiority Complex ◽  
Centralized Planning ◽  
The Media

The article is devoted to the study of the problem of alienation of peasants from the land in the period from the mid-1960s to mid-1980s in the context of the agrarian policy carried out during these years. The analysis of the complex nature of this problem is given on the basis of the extensive material of journalistic works by “village prose” writers, on the basis of archival and other historical sources. The author identifies and studies reasons for the alienation of the peasantry from the land in those years, such as: further stateization, centralization and concentration of agricultural production; its centralized planning; introduction of guaranteed wages; negative impact from the media and popular culture; rural inferiority complex; lack of brides in the countryside; the policy of eliminating unpromising villages.

Celebrity Worship as Parareligion

2017 ◽  
Author(s):  
Pete Ward
Keyword(s):  
Popular Culture ◽  
Community Life ◽  
Supernatural Power ◽  
Celebrity Culture ◽  
The Media ◽  
Almost All ◽  
Religious Elements

This chapter presents a study of celebrity worship in an attempt to clarify how popular culture can be like religion, although both remain categorically different. Most approaches to religion involve at least one of the following ideas: a belief in a supernatural power, the significance of religion to generate community life or some kind of church, or a divine power's influence on people's lives. Celebrity culture in almost all of these respects falls significantly short of what is required of a formal religion. Yet rather than dismissing celebrity worship as not religiously significant, it might be possible to cast new light on how, through the action of the media, and through the agency of audiences and fans, something like (and not like) religion is starting to emerge. The term for this is “parareligion.” Parareligion is based on the premise that celebrity worship is not a religion but has religious parallels. Parareligion suggests that religious elements are present but that they are presented ambiguously. These religious elements are often contradictory and open to a variety of different understandings.

Tourism, Popular Culture and the Media

2012 ◽  
pp. 98-114 ◽  
Author(s):  
Philip Long ◽  
Mike Robinson
Keyword(s):  
Popular Culture ◽  
The Media

Representations of Law, Rights, and Criminal Justice

2017 ◽  
Author(s):  
Stefan Machura
Keyword(s):  
Popular Culture ◽  
Criminal Justice ◽  
New Media ◽  
Social Cohesion ◽  
Justice System ◽  
Emile Durkheim ◽  
Media Technology ◽  
Popular Imagination ◽  
The Public ◽  
The Media

Criminal justice and its institutions are key objects of popular culture and attract extensive media attention. The portrayal of the justice system, its rules, professions, and institutions has been invigorated with the invention of new media technology. The authorities’ reaction to wrong doing has proven not less exciting to the audience than the criminal acts themselves. French sociologist Emile Durkheim emphasized that every member of society has an interest in social cohesion and wishes to see perpetrators appropriately punished. The media plays to this basic inclination. From the reactions of the justice system to crime people take clues not only for its effectiveness but the public also wants to see its basic values represented in the work of officials and their decisions. Therefore, aspects of procedural and distributive justice are picked up by popular imagination and exploited to the full by media producers. Beyond recognition that media depictions of criminal justice will follow media conventions and will therefore be distorted in systematic ways, it has to be acknowledged that those representations and the expectations they formed have become a major force in society. Political repercussions and influences on how crime is dealt with are a consequence.

scholarly journals Post-machismo, gender violence, and opinion dynamics in digital media. Exploring the Spanish reality through the experience of eldiario.es

Teknokultura ◽  
2019 ◽  
Vol 16 (2) ◽  
pp. 213-228
Author(s):  
Laura Martínez-Jiménez ◽  
Belén Zurbano-Berenguer
Keyword(s):  
Digital Media ◽  
Violence Against Women ◽  
Opinion Dynamics ◽  
Gender Violence ◽  
Digital Medium ◽  
Political Awareness ◽  
Online Newspaper ◽  
Online Audiences ◽  
The Media ◽  
The One

Gender violence has gradually become a public issue and a matter of State concern under permanent discussion in the Spanish media. Its increasing visibility has stimulated social and political awareness, but has also given rise to controversies, which are especially manifested in the digital environment. In this environment, meanings are built and expressed not only by the media, but also by online audiences participating through various mechanisms. This work observes the dynamics of the readers’ views on gender violence, as expressed in a politically progressive born-digital medium like eldiario.es. A sample of 716 comments to articles on gender violence published by this online newspaper are analyzed. A quantitative analysis shows a male-dominated participation of readers who are not subscribed to the site and whose views are contrary to those of eldiario.es’ editorial charter and its commitment to equality. A qualitative analysis of the contents of those comments reveals the recurring use of the feminist-antifeminist dichotomy in the debate, as well as a questioning of the scientific nature, purpose and suitability of feminism for the eradication of gender violence. Finally, the promotion of a genuine democratic debate in digital sites as the one here analyzed is discussed in light of women’s notable underrepresentation in the debate and of the possible misuse of participation as a means to perpetrate symbolic violence against women.

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