Return of the 'Angry Woman': authenticating female physical action in contemporary cinema

In 1999, Elizabeth Hills pointed up the challenges that physically active women on film still posed, in cultural terms, and in relation to certain branches of feminist theory . Since then, a remarkable number of emphatically active female heroes have appeared on screen, from 'Charlie’s Angels' to 'Resident Evil', 'Aeon Flux', and the 'Matrix' and 'X-Men' trilogies. Nevertheless, in a contemporary Western culture frequently characterised as postfeminist, these seem to be the ‘acceptable face’ – and body – of female empowerment: predominantly white, heterosexual, often scantily clad, with the traditional hero’s toughness and resolve re-imagined in terms of gender-biased notions of decorum: grace and dignity alongside perfect hair and make-up, and a body that does not display unsightly markers of physical exertion. The homogeneity of these representations is worth investigating in relation to critical claims that valorise such air-brushed, high-kicking 'action babes' for their combination of sexiness and strength, and the feminist and postfeminist discourses that are refracted through such readings. Indeed, this arguably ‘safe’ set of depictions, dovetailing so neatly with certain postfeminist notions of ‘having it all’, suppresses particular kinds of spectacles in relation to the active female body: images of physical stress and extension, biological consequences of violence and dangerous motivations are all absent. I argue that the untidy female exertions refused in popular “action babe” representations are now erupting into view in a number of other contemporaneous movies – 'Kill Bill' Vols 1 & 2, 'Monster', and 'Hard Candy' – that mark the return of that which is repressed in the mainstream vision of female power – that is, a more viscerally realistic physicality, rage and aggression. As such, these films engage directly with the issue of how to represent violent female agency. This chapter explores what is at stake at a representational level and in terms of spectatorial processes of identification in the return of this particularly visceral rendering of the female avenger.

An ocean modelling and assimilation guide to using GOCE geoid products

We review the procedures and challenges that must be considered when using geoid data derived from the Gravity and steady-state Ocean Circulation Explorer (GOCE) mission in order to constrain the circulation and water mass representation in an ocean 5 general circulation model. It covers the combination of the geoid information with timemean sea level information derived from satellite altimeter data, to construct a mean dynamic topography (MDT), and considers how this complements the time-varying sea level anomaly, also available from the satellite altimeter. We particularly consider the compatibility of these different fields in their spatial scale content, their temporal rep10 resentation, and in their error covariances. These considerations are very important when the resulting data are to be used to estimate ocean circulation and its corresponding errors. We describe the further steps needed for assimilating the resulting dynamic topography information into an ocean circulation model using three different operational fore15 casting and data assimilation systems. We look at methods used for assimilating altimeter anomaly data in the absence of a suitable geoid, and then discuss different approaches which have been tried for assimilating the additional geoid information. We review the problems that have been encountered and the lessons learned in order the help future users. Finally we present some results from the use of GRACE geoid in20 formation in the operational oceanography community and discuss the future potential gains that may be obtained from a new GOCE geoid.

Graces

The Graces, known by their Greek name Charites (sing. Charis) are young and benevolent models of feminine grace. Homer does not specify their number and ages, but Hesiod explains that they are three daughters of Zeus and Eurynome (a daughter of Okeanos), named Aglaia, Euphrosyne, and Thaleia (Theog. 907–9); they live with Himeros (Desire) on Olympos, beside the Muses (Theog. 64); and they assisted with the birth of Pandora (Op. 73).