The Influence of Gender and Facial Appearance on Voting Practices

Women’s faces tend to naturally retain more neonate features than men. These features, such as a greater eye height, a smaller nose area, and a wider smile, would cause women to have more immature faces than males. Interestingly, women who have these facial features are often perceived as more attractive than women with mature facial features. These findings imply that women would be judged less competent than men, and that immature-faced women would be perceived as less competent and more attractive than mature-faced females. Given the direction of political leadership in our country, this has interesting implications for females that are vying for leadership positions. Thus, our study examined the effects of both candidate gender and facial features on voting likelihood, and perceptions of attractiveness and competence, by pairing pictures with neutral party platforms.

Literary Love Making in Nicholas Sparks Novels: Finding the Balance Between the Writer's Life and Writer's Work in Bestselling Romantic Love

For almost a decade now Nicholas Sparks has been writing love stories. Not only has he been publishing his stories, but they have received high acclaim in each of their installments. Several of his novels have been made into major motion pictures and increased his popularity quite significantly. His status as a successful romantic fiction writer is undeniable, but the question is, why? What is it about Nicholas Sparks that makes his novels so engaging, and personally, what do I need to do as an aspiring novelist to try and acquire the same literary status? Sparks’s novels reach readers at a number of different levels, thus giving them appeal no matter the intellectual intent of the reader. Theoretically, Sparks engages reader response techniques as well as formalist processes such as “habitualization” and “defamiliarization,” while also developing engaging plot lines that represent many of the experiences from his own life. His writing is not only academically redeemable, but it is also creatively stimulating; between the two, Sparks represents the thunder and lightning combination all writers strive for while trying to achieve literary success. This project also offers a creative element in which I attempt to exemplify many of the traits discussed in the analytical sections of this document, by recreating them in a creative, fictitious fashion. Themes such as: motion versus stasis, life versus death, and the ordinary versus the extraordinary all exist within the narrative structure of my short story “Trip to Fall.” Besides these thematic elements, the creative section strives to represent the balance Sparks achieves between the experiences of his own life and the fictitious world he creates. Overall, this project delves into the life of Nicholas Sparks to better understand the inspiration for his writing at the level of form as well as content, while also paying tribute to Sparks’s style through a representation of his work in my own words.

Literary love making in Nicholas Sparks novels: Finding the balance between the writer’s life and the writer’s work in bestselling Romantic Literature

For almost a decade now Nicholas Sparks has been writing love stories. Not only has he been publishing his stories, but they have received high acclaim in each of their installments. Several of his novels have been made into major motion pictures and increased his popularity quite significantly. His status as a successful romantic fiction writer is undeniable, but the question is, why? What is it about Nicholas Sparks that makes his novels so engaging, and personally, what do I need to do as an aspiring novelist to try and acquire the same literary status? Sparks’s novels reach readers at a number of different levels, thus giving them appeal no matter the intellectual intent of the reader. Theoretically, Sparks engages reader response techniques as well as formalist processes such as “habitualization” and “defamiliarization,” while also developing engaging plot lines that represent many of the experiences from his own life. His writing is not only academically redeemable, but it is also creatively stimulating; between the two, Sparks represents the thunder and lightning combination all writers strive for while trying to achieve literary success. This project also offers a creative element in which I attempt to exemplify many of the traits discussed in the analytical sections of this document, by recreating them in a creative, fictitious fashion. Themes such as: motion versus stasis, life versus death, and the ordinary versus the extraordinary all exist within the narrative structure of my short story “Trip to Fall.” Besides these thematic elements, the creative section strives to represent the balance Sparks achieves between the experiences of his own life and the fictitious world he creates. Overall, this project delves into the life of Nicholas Sparks to better understand the inspiration for his writing at the level of form as well as content, while also paying tribute to Sparks’s style through a representation of his work in my own words.

You know how I know you're gay? : masculinity and homophobia in mainstream comedy

You Know How I Know You're Gay?: Masculinity and Homophobia in Contemporary Mainstream Comedy is a three-part senior scholars project that consists of a critical analysis of homophobic humor in contemporary mainstream comedy, an original feature-length comedy script entitled Don 't Be that Freshman, and a DVD of selected scenes from Don't Be that Freshman. The critical analysis first establishes the existence of homophobic humor in mainstream comedy and then links this homophobia to masculine anxiety, applying the ideas set forth in Michael Kimmel's essay, "Masculinity as Homophobia," to contemporary, mainstream, homosocial comedies. The paper goes on to examine audience reactions to this homophobic humor, focusing on audience members who enjoy these movies, yet consider themselves to be accepting of homosexuality and against homophobia. I discuss ways of resistance and the importance of opposing homophobic humor, and finally, I look at comedy as a potentially transgressive medium that could be used to fight homophobia and social inequality. The critical analysis, therefore, leads into Don't Be that Freshman, a film that uses progressive humor to oppose homophobia and expose the potential dangers and pitfalls of conforming to social constructions of gender. Don't Be that Freshman is a film about three pairs of college roommates in their first semester at college who become each other's first friends on campus. It is a character-driven comedy that attempts to normalize non-heterosexual sexual orientation and gender non-conformity, to advocate a type of living that does not conform to problematic social constructions and cultural ideologies, and at the same time to appeal to a mainstream audience. The film version is twenty-five minutes long and consists of ten scenes from the script.

Editorial

In the way that submissions to journals sometimes observe a strange synchronicity, this issue commences with three essays focusing on film. Relatively little work has been carried out on the ideologies of films designed specifically for children or of that large body of films regarded as family viewing, and which cater both to child viewers and also to the adults who accompany them. The three ‘film’ essays we present here apply a variety of theoretical and methodological frames to films which in the main fit within the second of these categories—family films.

The life and times of an online discussion

Teaching online and facilitating effective discussion with students requires adapting existing patterns of traditional classroom discussion techniques. This paper examines the life and times of a number of online discussions in both graduate and undergraduate papers for eduction students at the University of Waikato. Key features examined include the creation of an effective online environment model, the level and type of participation, along with modes of effective discussion assessment. The impact and development of the conversational style software environment that includes pictures of the participants has proved to be a critical aspect of discussion development and innovation.

Hunt angels

Rupert Kathner (Ben Mendelsohn) always had stars in his eyes. He wanted to make movies and wanted the whole world to see them. It was at a screening of a pilot for one of his films to studio execs that he met a woman who would change his life. Alma Brooks (Victoria Hill) was working as a secretary at the studio when she met Rupe. When they paired up, a revolutionary filmmaking duo was born. Despite opposition from the Police Commissioner himself, they produced the first true crime movie ever made in Australia: 'The Pyjama Girl Murder Case'. In the end, even the Commissioner gave it his blessing and it was an instant success. In fact, every film they ever made was shown on the big screen. Over the course of 15 years together, these mavericks managed to make a remarkable nineteen movies

New world orders in contemporary children's literature : utopian transformations

"New World Orders shows how texts for children and young people have responded to the cultural, economic, and political movements of the last 15 years. With a focus on international children's text produced between 1988 and 2006, the authors discuss how utopian and dystopian tropes are pressed into service to project possible futures to child readers. The book considers what these texts have to say about globalisation, neocolonialism, environmental issues, pressures on families and communities, and the idea of the posthuman."--BOOK JACKET.

Gatekeepers : going, going, gone -the challenge of citizenship journalism to traditional practice

Commentators believe that the reporting of the London bombings of July 2005 ushered in a new era of the citizen joumalist. News outlets in Britain were  flooded with emails and mobile phone pictures. But with the sheer quantity of material heading into the editor's inbox, how can we be sure of its veracity? This paper looks at The Herald Sun. The Age, The Sydney Morning Herald, The Daily Telegraph and The Adelaide Advertiser to investigate the current systems in place for checking incoming leads and material. The paper raises questions regarding the reliability of current systems and puts forward the possibility that new approaches and systems may be needed to meet the new challenges. The paper further explores if newspapers are still acting as gatekeepers of the traditional system or if they are letting the gate swing ajar in response to  changed circumstances.

The roles of social bonds in the Australian tourism network

There is limited published research on the social bonds between employees in two organizations. This paper aims to examine 1) relationships in the Australian tourism industry, 2) the nature and role of social bonds and commercial friendships, 3) the nature and roles of the investments in economic and social resources, and 4) the nature of personal relationships in the tourism network. The perspective and attitudes of the tourism network participants become clear and their vested interests are highlighted. Network pictures are developed for the 5 key sectors of this industry. The adaptations of these sectors are also discussed. The nature and role of social bonds and commercial friendships is examined. The Leximancer program is used to qualitatively analyze interview transcripts. Findings show the centrality of relationships in this industry and the importance of social bonds to the travel agency sector. This study provides additional insight into the nature of social bonds in the development of successful business to business relationships. A discussion of antecedents and outcomes of social bonds will be further developed.

Pictorial cues and sexual desire : an experimental approach

The cognitive processing of sexual and non-sexual pictorial stimuli was examined to see whether picture rating and recognition tasks have potential utility as a means of assessing levels of sexual desire. Previous research has revealed slower responding to sexual compared to neutral semantic cues in persons with lower self-reported sexual desire. The present study investigated whether sexual pictorial cues evoked a similarly slower responding in people reporting low sexual desire compared to other individuals. A total of 136 participants completed two self-report measures of sexual desire (the Hurlbert Index of Sexual Desire and the Sexual Desire Inventory) before carrying out tasks involving affective ratings and recognition memory for pictorial stimuli. Participants were classified into relatively low, average, and higher groups on the basis of their scores on the desire measures. The stimuli were selected from the International Affective Picture System, and the tasks included (1) rating the valence, arousal, and sense of dominance or control for each picture, (2) recognition of previously seen images, and (3) a second rating of pictures viewed earlier. Level of sexual desire did not influence responding in the male participants. Female participants with lower sexual desire rated sexual images less pleasant and less arousing than the other participants, and completed picture recognition tasks more quickly. Sexual desire levels significantly influenced the interest ratings women gave to sexual pictures. We also found sexual content induced delays. These delays were not significantly different among desire groups. The variation in responding linked to levels of sexual desire in women suggests that more investigation of this methodology in a clinically diagnosed population might contribute to an understanding of low desire, and help design interventions addressing distress due to lack of sexual desire.

Dissociations between implicit and explicit memory in children : the role of strategic processing and the knowledge base

A review of the literature shows that explicit memory develops substantially from three years of age to adulthood, while implicit memory remains stable across this age range. Previously, this developmental dissociation has been attributed to different memory systems, or to confounds with perceptual vs. conceptual processing. Prompted by an alternative developmental framework, the experiments reported here provide evidence against both interpretations. Instead, it will be argued that (a) the implicit - explicit developmental dissociation reflects differences in strategic processing (strategy use and metamemory) across childhood and (b) that implicit memory can show development if a child's knowledge base in the tested domain is developing with age.

Clichéd gaze of the migrant on the Australian screen

The thesis takes up the question of the representation of the migrant on the Australian screen in terms of a specific set of concerns around the notions of stereotype and self-reflexivity. The stereotype is read as a self-referential image: hence, as a question of film spectatorship and identity; in short as an unconscious reflex or self image. The text of the thesis is in two parts: part one, comprises the production of the film ‘Italians at home’. It is the major component of research and text which, for this purpose, has been copied and submitted hereto on VHS video cassette. Part two, includes an analysis and discussion of the television documentary ‘The migrant experience’, and an exegesis, of the production, narrative and reception of the film ‘Italians at home’. The migrant experience is read and discussed as an exemplary text of dominant, stereotyped discourse of cultural difference; while ‘Italians at home’ is proposed as a parallel text and a self-reflexive reading and criticism of such a text. Both the television documentary and the film, deal with the representation and problematic of homogenised representations of ethnicity. In the case of ‘The migrant experience’, it is argued, that the figure of the migrant as other and self-image, functions as an object of Australian culture and discourse of national identity within a logic of representation of binary structures; while the film ‘Italians at home’, the question of self-referentiality is seen in terms of the viewing subject and a problematic of film representation; thus, the film attempts to make such signifying structures, visual codes and agreed assumptions of otherness visible, while, at the same time, attempting to displace them or pose them as a problem of representation or reading for the viewer.

Narrativization of actuality : convergence of form and genre in film and television

The thesis concerns the treatment of actuality in film and television, particularly the narrativization of actuality images, and the context of their placement within audio/visual texts. Several instances of the convergence of media form and genre are analyzed, and the conventions of classificatory systems and boundaries that pertain to film and television representations are reconsidered in light of changes in the conventions of genre. The distinction between, and convergence of fictional and non-fictional conventions of narrative are therefore central to the thesis, as are the related issues of viewer response, the nature of subjectivity in the viewer, the connectivity of text and culture, and the relations of actuality to the text. The thesis traces the narrativization of actuality through textual, formal and genre boundaries, adopting a ‘line of flight or deterritorialization’ that enables the thesis to ‘change in nature and connect with other multiplicities.’This line of flight passes through the conventional separation of genre groupings and texts, and, similarly, has been applied in the thesis as a rationale for the diminution of theoretical boundaries. A multiperpectival approach is applied to the permeability of, or transcendent relations of the analysis to the boundaries between genres, between texts and culture, and between actuality and virtual representation. In the thesis there is also a theoretical deterritorialization that consents to a pluralism of theory, which is an approach demonstrated by Deleuze and Guattari in A Thousand Plateaus. The model of multi-perspectivalism adopted in the thesis engages in establishing connections and similarities between theories, rather than emphasizing contradictory and exclusive practices. The Foucauldian notion of the rules of formation in discourse, Nichols’ theories of documentary representation of reality, Bordwell’s schematic interpretation, and several other positions are critiqued, as the line of flight embarked upon in the thesis intersects with, and passes through both textual and theoretical boundaries. The thesis consists of two parts: firstly, a location of theoretical perspective, in which the issues of theory pertaining to actuality and narrative are explicated, and the methodological approach of the thesis is defined. The second part commences with an analysis of the most familiar instances of actuality in film and television, with particular attention to documentary forms. It then engages in the analysis of films that represent actuality but which, in the process of narrativization, display a convergence of genre conventions. The films selected for analysis include Steven Speilberg's Schindler's List, (1993) Oliver Stone's JFK, (1991) and Robert Zemeckis' Forrest Gump, (1994) and Contact, (1996). Hence the thesis is concerned with the application of a pluralist theoretical approach, with, however, an emphasis on the Deleuzo-Guattarian notions of rhizome and assemblage. Within this theoretical frame, the connections between actuality and the audio/visual text are explicated, and the formation of text as ‘a rhizome with the world’, is analyzed across a range of examples.

Cutting choreography : redefining dance on screen

[NO ABSTRACT]