Sexy women sports fans: femininity, sexuality, and the global sport spectacle

In recent years the relationship between women and sport fandom has undergone significant shifts. The rapidly changing sphere of global sport is seen to offer women newly visible roles in the global sport economy as fans, broadcasters, celebrity athletes, and media personalities. In light of calls for greater inclusivity and diversity in sport, this paper examines the emergence of new forms of “sexually empowered” female fandom, which situate women as active participants in the sporting spectacle. Whereas sexy women who followed men’s sport or male athletes were once derided as “groupies,” thus socially marginalised and excluded from identification with sport fan communities, I argue that the sexy sport fan has emerged in the context of post-feminism as a visible and necessary type of feminine fan identity to meet the needs of the global sport economy. This study extends feminist sport media analysis beyond its focus on how female athletes are represented whilst also contributing new insights to sport fan research by analysing how female supporters are constructed through mediated accounts in terms of gender, sexuality, and nation.

Searching for a feminist voice : film festivals and negotiating the tension between expectation and intent

International Film Festivals play a vital role in shaping filmmakers’ careers. This paper presents some initial findings from a current major research project, highlighting the significance of particular festival programming of emerging female directors from developing nations. Some filmmakers showcased at festivals actively privilege the voices of women in their films as a means of commenting on pressing cultural and political issues. Ironically, other filmmakers do not subscribe to the label of “feminist” or “woman filmmaker”, even if their respective films represent a strongly coded woman’s point of view. Tensions also arise inevitably when scrutinising women filmmakers from developing nations within a first world film festival context. The expectations of the researcher, the festival, film critics and audiences inevitably must negotiate with the original intentions of the filmmaker. This paper explores the significance of women filmmakers in attendance at the Brisbane International Film Festival (2009) and the International Film Festival Rotterdam (2010).

International acclaim : the role(s) of the international film festival in supporting emerging women’s cinema

International Film Festivals act as important sites for the exhibition of contemporary world cinema. Film festivals represent an increasingly transnational film culture, where audiences, filmmakers, distributors, press, critics and academics come together from all over the world to discover new films, network with one another and debate about the past, present and future of cinema. This research project investigates the role that international film festivals play within the wider international film industry, with a specific focus on emerging women filmmakers. It therefore explores the arena of contemporary women.s cinema at its intersection with the international film festival industry. The significance and original contribution of the research is its intervention in the growing field of film festival studies through a specific investigation of how international film festivals support emerging women filmmakers. The positioning of the research at the intersection of feminist film theory and festival research within the broader context of transnational cinema allows the examination of each festival, the attending filmmakers and their films to be addressed within a more refined and nuanced lens. A core method for the thesis is the close textual analysis of particular emerging women filmmakers. films which are screened at the respective festivals. The research also utilises the qualitative research strategies of the case study and the interview to ¡°seek to understand the context or setting of the participants through visiting this context and gathering information personally¡± (Creswell 2003, 9). The textual analysis is used in dialogue with the interviews and the participant observational data gathering to provide a related context for understanding these films and their cultural meanings, both personally for the filmmaker and transnationally across the festival circuit. The focus of the case studies is the Brisbane International Film Festival, the International Film Festival Rotterdam and the Toronto International Film Festival. These three festivals were chosen for their distinct geographical locations in the Asia Pacific, Europe and North America, as well as for their varying size and influence on the international film festival circuit. Specifically, I investigate the reasons behind why the organisers of a particular festival have chosen a certain woman.s film, how it is then packaged or displayed within the programme, and how all of this impacts on the filmmaker herself. The focus of my research is to investigate film festivals and their .real-life. applications and benefits for the filmmakers being supported, both through the exhibition of their films and through their attendance as festival guests. The research finds that the current generation of emerging women filmmakers has varying levels of experience and success at negotiating the international film festival circuit. Each of the three festivals examined include and promote the films of emerging women filmmakers through a range of strategies, such as specific programming strands dedicated to showcasing emerging talent, financial support through festival funds, providing visibility within the programme, exposure to international audiences and networking opportunities with industry professionals and other filmmakers. Furthermore, the films produced by the emerging women filmmakers revealed a strong focus on women.s perspectives and experiences, which were explored through the interweaving of particular aesthetic and cinematographic conventions.

We need to talk (Performance Space)

'We need to talk (Performace Space)' is a 3 channel audio work with round table and custom cushions, examining the discursive framework of LEVEL as a feminist art collective. It was included in the exhibition 'Sexes', curated by Bec Dean, Jeff Khan and Deborah Kelly, at Performance Space. The audio works feature recontextualised excerpts from a series of dinner party conversations, which focused on the role of women and feminism in the 21st century. Placed in a specially constructed ‘lazy susan’, this audio installation speaks of the experience of sharing information, ideas and experiences ‘around the table’. The fabric patterns on the floor cushions have been designed from banners created in collective workshops with women in Brisbane and Melbourne, Australia, as a way of translating personal statements and political ideas into the everyday.

Food for Thought (Next Wave Festival)

Food for Thought embraces the notion that a revolution can start at the dinner table. Drawing inspiration from Judy Chicago’s seminal artwork ‘The Dinner Party’, LEVEL Artist Run Initiative hosted a series of dinner party events in order to create vibrant discussions concerning the role of women and feminism in the twenty-first century. The work consisted of a reading room, four dinner party events, and four public talks covering the topics: 'Women and the arts';'Generations: plurality and difference'; 'Women in the media'; and 'How can art contribute to political change for women in the 21st century?'

Cuando el miedo invade la ficción. Análisis de Perdidos (Lost) y de otros quality dramas de la era Post 11S.

521 p.

Prise de parole au féminin : la paix et les relations internationales dans les revendications du mouvement de femmes pour la paix en France (1919-1934)

Au terme de la Grande Guerre (1914-1918), rares sont ceux et celles qui ne rêvent pas d’un monde nouveau. Après quatre années de souffrance et d’angoisse, la paix s’impose comme une pulsion de vie qui touche toutes les populations impliquées dans le conflit, en premier lieu celles qui ont connu les combats sur leur propre territoire. Un nombre record de mouvements pour la paix émerge des cendres de la guerre, dont plusieurs sont spécifiquement féminins. Pour ces femmes, privées du droit de vote et donc exclues de la vie politique au sens traditionnel, ces mouvements apparaissent comme autant de nouveaux espaces d’actions politiques. À travers leur lutte pacifiste, elles investissent le champ politique et social, avec des débats qui n’ignorent aucune des grandes questions de l’entre-deux-guerres. C’est donc dans cette perspective que les femmes prennent parole : même si elles n’ont pas connu comme les hommes les champs de bataille, elles ont aussi souffert pendant le conflit et revendiquent le droit de « refaire le monde ». Ces quelques femmes sont toutefois longtemps restées dans l’ombre : doublement ignorées en raison de leur pacifisme et de leur sexe. L’historiographie de l’entre-deux-guerres en France a en effet longtemps négligé leur travail dans l’établissement de la paix et dans les relations internationales. Cette thèse cherche donc à combler un vide laissé par une historiographie trop longtemps axée seulement sur les hommes politiques et liant de façon trop stricte l’action politique et le droit de vote. À partir de l’analyse de cinq associations pacifistes féminines – la Section française de la Ligue internationale des femmes pour la paix et la liberté (SFLIFPL), la Ligue des femmes contre la Guerre (LFCG), l’Union féminine pour la Société des Nations (UFSDN), l’Union fraternelle des femmes contre la guerre (UFFCG) et la Ligue internationale des mères et des éducatrices pour la paix (LIMEP) – notre recherche propose une nouvelle analyse des affaires internationales en abordant les questions de la paix, de la réconciliation franco-allemande et du désarmement au féminin. Elle met également en lumière les discours sur le rôle et la place des femmes dans la société de l’entre-deux-guerres et cherche à comprendre comment les pacifistes contournent leur exclusion des affaires politiques et légitiment leurs démarches dans la construction de la société d’après-guerre.

Ser dona, ser home en relació de diferència = Ser mujer, ser hombre en relación de diferencia

Moltes dones, després de portar anys de pràctica política de relació entre dones, i essent conscients del guany que per a les nostres vides ha suposat el pensament de la diferència sexual, sentim la necessitat i també el desig d'obrir un intercanvi, una relació de pràctica política des de la diferència, també, amb homes. Fonamentalment, començant amb aquelles relacions rellevants que esculli cada dona: de vegades és la parella, de vegades és un amic, de vegades és un company de feina, de vegades es un company amb qui compartir un projecte de millora de la ciutat, etc. Els fruits de la pràctica política d'entre-dones són i han estat immensos per a moltes, perquè hem pogut desplaçar-nos del que ens ve donat i començar un gest simbòlic nou, nomenant des de nosaltres el món i la relació que desitgem amb ell. Així, hem pogut nomenar també de pou la relació amb l'altre sexe, -mes enllà de la contraposició dialèctica que mira la relació entre els sexes com una oposició jeràrquica-, partint de l’existència d'un món habitat per homes i per dones; partint que és possible obrir la relació de diferencia entre sexes

The female nude

This thesis argues that a sense of personal power, agency and self-worth can be regained through art practice and will cite examples of this process by artists and others who are outside the parameters of hegemony. The author's experience as a female artist is discussed within the context of historical and contemporary art practices that focus mainly on representations of the female nude, and therefore follows the notion that the personal is political.

We need to talk

'We need to talk' examines the discursive framework of LEVEL as a feminist art collective and engages with conversation as a strategy for bringing diverse individual voices to the forefront of the feminist discussion. The words in the audio works, were recontextualised from a series of dinner party conversations, which focused on the role of women and feminism in the 21st century. The thoughts and ideas of sixty women have been transcribed, edited and re-recorded through the artists’ individual voices. Placed in a specially constructed ‘lazy susan’, this audio installation speaks of the experience of sharing information, ideas and experiences ‘around the table’. The fabric patterns on the floor cushions have been designed from banners created in collective workshops with women in Brisbane and Melbourne, Australia, as a way of translating personal statements and political ideas into the everyday.

Violência e luta por direitos no capitalismo contemporâneo: crítica à configuração do atendimento às mulheres no Rio Grande do Norte

This research analyzes the Rio Grande do Norte care services to women who face violence in the context of contemporary capitalism. To do so, we situate the patriarchy in the set of current social relations and its relationship with the corporate determinations in everyday life. The new functions of the Patriarchy in the capital sociability permeates the lives of individuals and particularizes the relationships of violence which affects women, requiring, in the immediate level, policy-making to face them. The research found an arsenal of contradictory possibilities and limitations in dealing with violence. In this process, forms of struggle and resistance predominate, which appear as possibilities and limits were identified relate to the socio-historical context of regression of the rights, historical moment in which increase the objective difficulties in everyday life to ensure the legal achievements. It is worth to emphasize the achievements and contradictions that characterize the struggle process for rights, linking services to women to the social policies and to the limits they face in opposition to the aims of the State to meet the mandatory requirements of capital, reducing its role as the main guarantor of policies and rights. In this sense, the trajectory of the achievements that have referred to the proclamation of a specific law to deal with combat violence against women, the Maria da Penha Law - 11.340/06, which provides an integrated set of measures that, if implemented, would allow the women protection from relations of violence they experience. We identified in Rio Grande do Norte precarious services that are essential to achieve the Maria da Penha Law. This situation requires a feminist organization to claim the rights that enable women to see themselves as people with rights in the process of collective struggle. This is the historical need for continuity of struggles that accumulate policies for the existence of a new model of social relations of gender. One of the possibilities that are presented in the current context is the impact on the public budget in order to ensure compliance with the budget for public policies for women - woman budget. In this perspective, feminist segments in national and state level have been organized to understand the functioning and monitoring of social policies. This is a condition and prerequisite for ensuring policies to ensure basic rights and the violence combat , which still requires an integrated set of services. The survey results allow us to consider that the struggle for rights is necessary at this historical moment, however it is not sufficient in human emancipation, which requires new forms of social relations that determine substantive equality between men and women. Thus, the feminist movement faces the challenge to organize and strengthen itself in daily life, in order to execute a project that changes the meaning of women's rights, articulated to a corporate project which wants other command in the set of social relations . This study emphasizes the need for a more and more organic connection between feminism and social struggles, to ensure the inclusion of women in anti-capitalist struggle

As mulheres anarquistas na cidade de São Paulo: 1889-1930

Pós-graduação em História - FCHS

Lei Maria da Penha: percepções e vivências

Pós-graduação em Ciências Sociais - FFC

Movimiento de mujeres/feminismo/s : tensiones y desafíos en la Argentina de los noventa

Durante la transición democrática y el primer período de consolidación, los movimientos sociales resurgen y juegan un rol protagónico como portavoces de la sociedad. El movimiento mujeres/feminismo también tiene aquí un nuevo florecimiento. Sin embargo, la “globalización" traerá aparejada algunas consecuencias que repercutirán tanto en el Estado como en el movimiento, dos de los actores/as protagónicos en la definición de políticas públicas con perspectiva de género. Cuáles son los desafíos que se vislumbran, desde el movimiento de mujeres, en orden a la concesión de una ciudadanía plena para las mujeres, luego de esos cambios, es la pregunta que recorre el texto.

Imágenes del patriarcado en el teatro de Patricia Zangaro

Este trabajo se encuadra en una investigación más amplia sobre el teatro argentino contemporáneo escrito por mujeres, en la cual pretendo examinar la representación de las cuestiones de género en la textualidad de las dramaturgas argentinas y su relación con las condiciones socio-históricas de producción, circulación y reconocimiento de sus obras. En este caso, indago en las obras de Patricia Zangaro para determinar si presentan una discursividad propia del género, es decir, que intente transgredir o subvertir el discurso masculino, proponiendo una subjetividad femenina autónoma, opuesta a los estereotipos culturales relacionados con diferencias genéricas y con la representación de la mujer. Asimismo, examino si dicha transgresión responde a una ideología estético-política que pueda inferirse a partir de la poética teatral de la autora. Me enfoco en sus piezas “Por un reino", “Última luna", “Tiempo de aguas" y “La hora nona".