Download Action Chicks: New Images of Tough Women in Popular Culture by S. Inness PDF

By S. Inness

Xena, Buffy, Lara Croft. WWF, The Sopranos, Witchblade, l. a. Femme Nikita. the ladies of popular culture are heart degree and as tricky as ever. motion Chicks is a groundbreaking assortment highlighting the heroines we've got grown to worship. What can they let us know approximately ladies within the Twent-first-century? What can they let us know approximately how pop culture depicts girls? Do the characters break out conventional gender function expectancies? Or do they adhere to sexual, racial, ethnic, and sophistication stereotypes? The essays in motion Chicks offer enthusiasts with a brand new examine their favorite icons and their courting to the preferred media computer. a desirable assortment that is guaranteed to fire up a few excitement.

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Htm. 22. Laura Mulvey, “Visual Pleasure and Narrative Cinema,” in Art in Theory 1900–1990: An Anthology of Changing Ideas, ed. Charles Harrison and Paul Wood (Cambridge: Blackwell Publishers, 1993), 967. 23. In my experience, companies producing three-dimensional gaming content of the nature discussed here are 90 percent to 95 percent male. This overwhelmingly male presence is no coincidence. For example, an advertisement recruiting new talent to a West Coast–based gaming company depicts a sunny poolside.

Jacob Ward, “Crime Scene,” Wired (May 2002) 80. 46. Mary Flanagan, “Hyperbodies, Hyperknowledge: Women in Games, Women in Cyberpunk, and Strategies of Resistance,” in Reload: Rethinking Women and Cyberculture, ed. Mary Flanagan and Austin Booth (Cambridge, MA: MIT Press, 2002), 427. 47. Bataille, 42. 48. Klaus Theleweit, Women, Floods, Bodies, History, vol. 1 of Male Fantasies, trans. Erica Carter and Chris Turner (Minneapolis: University of Minnesota Press, 1987), 194–196. 49. org. Lara’s Lethal and Loaded Mission 45 50.

For a discussion on the interrelationship among gender, reproductive technologies, and representation, see chapter 3 in The Gendered Cyborg, ed. Gill Kirkup et al. (New York: Routledge, 2000). 44. Now Alias/Wavefront. The software in question is 3-D Paint Effects. The advertisement was published in 1996. 45. Jacob Ward, “Crime Scene,” Wired (May 2002) 80. 46. Mary Flanagan, “Hyperbodies, Hyperknowledge: Women in Games, Women in Cyberpunk, and Strategies of Resistance,” in Reload: Rethinking Women and Cyberculture, ed.

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