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Artículos de revistas sobre el tema "Gender identity – Cartoons and comics"

Autor: Grafiati
Publicado: 25 de julio de 2024

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1

Høigilt, Jacob. "EGYPTIAN COMICS AND THE CHALLENGE TO PATRIARCHAL AUTHORITARIANISM." International Journal of Middle East Studies 49, no. 1 (2017): 111–31. http://dx.doi.org/10.1017/s0020743816001161.

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AbstractAdult comics are a new medium in the Arab world. This article is the first in-depth study of their emergence and role within Arab societies. Focused on Egypt, it shows how adult comics have boldly addressed political and social questions. Seeing them as part of a broader cultural efflorescence in Egypt, I argue that, against patriarchal authoritarianism, adult comics have expressed an alternative ideology of tolerance, civic rights and duties, individualism, creativity, and criticism of power. Specifically, they present a damning critique of Egypt's authoritarian order, as well as of t
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2

Vera, Jose Manual. "Cultural resignifications: from the globalized image of the superhero to the image of the Chilean indigenous peoples in the editorials Mitomano comics and Nük Comics." Revista de Antropología Visual 5, no. 32 (2024): 1–15. http://dx.doi.org/10.47725/rav.032.04.

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In the current context of comics in Chile, we observe that the superhero genre has acquired importance, to a large extent, by representing characters that take their identity and graphic narrative from cultures originating from the country. In this article, some of these visual representations are analyzed, based on the intersection between the editorial point of view, art and the narrative presented in each comic, to which a reflection is incorporated from concepts coming from both visual anthropology and of the visual economy. The latter allows us to give new readings to the theme, taking as
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3

Tembo, Kwasu. "Sons of Lilith: The Portrayal and Characterization of Women in the Apocryphal Comics of Neil Gaiman, Alan Moore, and Grant Morrison." Corpus Mundi 1, no. 2 (2020): 88–121. http://dx.doi.org/10.46539/cmj.v1i2.14.

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This paper examines the treatment and characterization of women, sex, identity, and gender in the lesser known or studied comics of Alan Moore, Neil Gaiman, and Grant Morrison in order to discern what such an analysis tells us about each author's engagement with the issues and debates surrounding these sociopolitical and cultural phenomena. The purpose of this study is to discern how three of the most influential writers of contemporary comics books engage with themes of gender, identity, sexuality, and trauma and, in this way, set precedents that have come to be debated and critiqued in conte
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4

Vuorinne, Anna, and Ralf Kauranen. "Visions of Queer Places." European Comic Art 15, no. 1 (2022): 26–45. http://dx.doi.org/10.3167/eca.2022.150103.

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This article discusses two queer comics from Finland in the 2010s, H-P Lehkonen’s Life Outside the Circle (2017–2018) and Edith Hammar’s Homo Line (2020), analysing them as identity work and acts of queer world-making. Both comics depict migration and foreground identity formation in relation to place. The analysis focuses on the intersectionality of queer identities, marked as minority positions with regard to power structures related to gender and sexuality—where a binary conception of gender and heteronormativity dominates, with systemic hierarchies related to place and different national a
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5

Cooper-Cunningham, Dean. "Drawing Fear of Difference: Race, Gender, and National Identity in Ms. Marvel Comics." Millennium: Journal of International Studies 48, no. 2 (2019): 165–97. http://dx.doi.org/10.1177/0305829819889133.

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Feminist scholars have provided important analyses of the gendered and racialised discourses used to justify the Global War on Terror. They show how post-9/11 policies were made possible through particular binary constructions of race, gender, and national identity in official discourse. Turning to popular culture, this article uses a Queer feminist poststructuralist approach to look at the ways that Ms. Marvel comics destabilise and contest those racialised and gendered discourses. Specifically, it explores how Ms. Marvel provides a reading of race, gender, and national identity in post-9/11
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Jones, James W. "Cartoons and AIDS: Safer Sex, HIV, and AIDS in Ralf König's Comics." Journal of Homosexuality 60, no. 8 (2013): 1096–116. http://dx.doi.org/10.1080/00918369.2013.776422.

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Bettaglio, Marina. "A Womb With a (Political) View: Reclaiming Reproductive Rights in Spanish Feminist Cartoons." Revista Lusófona de Estudos Culturais 10, no. 2 (2023): 63–85. http://dx.doi.org/10.21814/rlec.4652.

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Drawing attention to the ways in which art activism can be mobilized “with the objective of achieving social and or political change” (Serafini, 2018, p. 3), in this article, I attend especially to the image of the womb as a powerful visual metaphor for political intervention. Analyzing the transformative potential of an embodied medium such as political cartoons, the present article focuses on Wombastic, a Tumblr-based initiative organized by the Spanish collective Autoras de Cómic in response to the restrictive abortion bill that the Spanish right-wing Partido Popular approved in the Council
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Bell, Sarah A. "Serial Selves: Identity and Representation in Autobiographical Comics." Women's Studies in Communication 45, no. 1 (2022): 113–14. http://dx.doi.org/10.1080/07491409.2022.2041952.

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Chambliss, Julian Carlos, Nicole Huff, Kate Topham, and Justin Wigard. "Days of Future Past: Why Race Matters in Metadata." Genealogy 6, no. 2 (2022): 47. http://dx.doi.org/10.3390/genealogy6020047.

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While marginalized as a juvenile medium, comics serve as an archive of our collective experience. Emerging with the modern city and deeply affected by race, class, and gender norms, comics are a means to understand the changes linked to identity and power in the United States. For further investigation, we turn to one such collective archive: the MSU Library Comics Art Collection (CAC), which contains over 300,000 comics and comic artifacts dating as far back as 1840. As noted on the MSU Special Collections’ website, “the focus of the collection is on published work in an effort to present a c
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10

Shaw, Adrienne. "Women on Women: Lesbian Identity, Lesbian Community, and Lesbian Comics." Journal of Lesbian Studies 13, no. 1 (2009): 88–97. http://dx.doi.org/10.1080/07380560802314227.

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11

Brown, Stephanie. "Open Mic?" Feminist Media Histories 6, no. 4 (2020): 42–67. http://dx.doi.org/10.1525/fmh.2020.6.4.42.

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This article draws on ethnographic interviews conducted between May 2016 and May 2017 with stand-up comics in Chicago and Urbana-Champaign, Illinois, all of whom described the experience of being marked as, or associated with, women within the historically masculine comedic space. Drawing on feminist comedy studies, production studies, and fan studies, the article explores the cultural logics of comedic authenticity and their material effects on embodied performances of marked comics in local live comedy. It argues that marked bodies are rarely able to achieve the ideal performance of “authent
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CARVALHO (UEM), Fabiana Aparecida de, and Adalberto Ferdnando INOCÊNCIO (UEM). "CORPOS CAMBIANTES EM “A CIDADE DOS PIRATAS”: É POSSÍVEL UMA PEDAGOGIA “LAERTE” PARA ABALAR AS COLONIALIDADES E OS FASCISMOS IMPOSTOS AOS GÊNEROS?" Margens 16, no. 26 (2022): 137. http://dx.doi.org/10.18542/rmi.v16i26.11140.

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The present work discusses the animated film “The Pirates City” (2018), directed by Otto Guerra and premiered by the cartoonist Laerte Coutinho, that corporates on-screen questions about her transgender process, the adoption of a transvestite identity for herself, and the critic/deconstruction of present masculinities in her works since the decade of 1980. In a succession of layers disposed of a bricolage of comic books, construction of scripts, interviews, protagonists' dilemmas, and historical contexts of power coloniality, from the individual, from nature, from gender, and from knowledge in
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13

Afzal, Saman. "Internalizing Gendered Identities: Children’s Conversations about Cartoon Characters." University of Chitral Journal of Linguistics and Literature 5, no. II (2021): 148–69. http://dx.doi.org/10.33195/jll.v5iii.335.

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In today’s digital world, children spend most of their time watching and enjoying cartoons on smart devices. We, therefore, argue that cartoons leave an impact on the identity of children. This research explores how children accumulate gender stereotypes using Bandura’s social learning theory (1977) and identification with media characters’ theory by Cohen (2001). The study investigates how children of 3rd to 5th grade construct identity under the influence of popular cartoon characters. Based on the child-centered methodology, including controlled conversation patterns with children from ten
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14

McGrath, Karen. "Gender, Race, and Latina Identity: An Examination of Marvel Comics' Amazing Fantasy and Araña." Atlantic Journal of Communication 15, no. 4 (2007): 268–83. http://dx.doi.org/10.1080/15456870701483599.

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15

Ormrod, Joan. "Reading Production and Culture." Girlhood Studies 11, no. 3 (2018): 18–33. http://dx.doi.org/10.3167/ghs.2018.110304.

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In this article I explore the production of teen girl comics such as Marilyn, Mirabelle, Roxy and Valentine in the promotion of pop music and pop stars from 1955 to 1960. These comics developed alongside early pop music and consisted of serial and self-contained picture stories, beauty and pop music articles, advice columns, and horoscopes. Materiality is a key component of the importance of comics in the promotional culture in a media landscape in which pop music was difficult to access for teenage girls. I analyze the comics within their historical and cultural framework and show how early B
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16

Bernstein, Penny, Nicholas Paolone, Justin Higner, et al. "Furries from A to Z (Anthropomorphism to Zoomorphism)." Society & Animals 16, no. 3 (2008): 197–222. http://dx.doi.org/10.1163/156853008x323376.

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AbstractThis study explored the furry identity. Furries are humans interested in anthropomorphic art and cartoons. Some furries have zoomorphic tendencies. Furries often identify with, and/or assume, characteristics of a special/totem species of nonhuman animal. This research surveyed both furries (n = 217) and non-furry individuals (n = 29) attending a furry convention and a comparison group of college students (n = 68). Furries commonly indicated dragons and various canine and feline species as their alternate-species identity; none reported a nonhuman-primate identity. Dichotomous responses
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17

Smirnova, Michelle. "Small Hands, Nasty Women, and Bad Hombres: Hegemonic Masculinity and Humor in the 2016 Presidential Election." Socius: Sociological Research for a Dynamic World 4 (January 1, 2018): 237802311774938. http://dx.doi.org/10.1177/2378023117749380.

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Given that the president is thought to be the national representative, presidential campaigns often reflect the efforts to define a national identity and collective values. Political humor provides a unique lens through which to explore how identity figures into national politics given that the critique of an intended target is often made through popular cultural scripts that often inadvertently reify the very power structures they seek to subvert. In conducting an analysis of 240 tweets, memes, and political cartoons from the 2016 U.S. presidential election targeting the two frontrunners, Hil
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18

Sheikh, Adnan Rashid, Faisal Rashid Sheikh, Shaukat Khan, and Athar Rashid. "Discursive Construction of New Female Identity in Latest Hollywood Blockbuster Movies." International Journal of English Linguistics 10, no. 1 (2019): 265. http://dx.doi.org/10.5539/ijel.v10n1p265.

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This study analyses the emergence of female portrayal in latest Hollywood superhero movies, after the #MeToo global movement about awareness of sexual harassment. This research adopts a qualitative approach in analysing the constructs of doing and undoing gender in blockbuster movies by Marvel and DC comics. This study seeks to explore the shift towards discursive and screen empowerment of female lead and supporting characters. Such movies serve as a barometer of the cultural and social milieu and hence project how women can display range of capabilities, independence and emotional strength on
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19

Jones, Bethan. "Producing and Branding Gender in Comics: My So-Called Secret Identity and the Ambivalence of an Alternative Address." Palabra Clave - Revista de Comunicación 20, no. 4 (2017): 1073–104. http://dx.doi.org/10.5294/pacla.2017.20.4.9.

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20

Mandolini, Nicoletta. "Re-appropriating Abjection: Feminism, Comics and the Macabre Coming-of-Age." Feminist Encounters: A Journal of Critical Studies in Culture and Politics 7, no. 2 (2023): 32. http://dx.doi.org/10.20897/femenc/13560.

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Julia Kristeva’s theories on the abject have proven fruitful for feminist criticism, which has produced a huge body of research on the representation of motherhood and femininity as macabre. More recently, the concept of abjection has been blamed for supposedly legitimising, instead of questioning, hetero-patriarchal erasure of women’s subjectivity. Despite this theoretical controversy, a growing number of comics and graphic novels, where the abject is used as a technique to illustrate the formation of women and girls’ gendered identity, have been published in the last decade. This article con
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21

Cornelio-Marí, Elia-Margarita. "Mexican children and American cartoons: Foreign references in animation." Comunicar 23, no. 45 (2015): 125–32. http://dx.doi.org/10.3916/c45-2015-13.

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This audience study explores how a group of children from Southeast Mexico, perceive the animated cartoon «Dexter’s Laboratory». The objective is to observe the ways in which a young local audience, still in the process of building its cultural identity, perceives an American television program. A qualitative approach was applied: 44 children between 8 and 11 years old participated in a series of semi-structured interviews and focus groups, which took place in a provincial city in Mexico (Villahermosa, Tabasco). In each session, the participants watched an episode of the cartoon dubbed into La
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22

Massanari, Adrienne L. "“Come for the period comics. Stay for the cultural awareness”: reclaiming the troll identity through feminist humor on Reddit’s /r/TrollXChromosomes." Feminist Media Studies 19, no. 1 (2017): 19–37. http://dx.doi.org/10.1080/14680777.2017.1414863.

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23

Da Silva, Marta Regina Paulo. "“Meninas não desenham carros... mas têm meninas que desenham”: culturas infantis, relações de gênero e histórias em quadrinhos." Perspectiva 33, no. 3 (2016): 983–1009. http://dx.doi.org/10.5007/2175-795x.2015v33n3p983.

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Este artigo discute a produção das culturas infantis a partir das experiências de meninos e meninas, de 3 a 5 anos de idade, com a linguagem das histórias em quadrinhos (HQs), tendo como foco as relações de gênero. Reconhece as HQs como uma das produções midiáticas que interfere nos modos de viver das crianças, muitas vezes reforçando estereótipos fundados nas diferenças sexuais. Assim, em uma interlocução com a filosofia, sociologia, sociologia da infância, pedagogia da infância e arte, problematiza como as crianças se apropriam dos quadrinhos, o que deles reproduzem, inventam ou reinventam.
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24

Forni, Dalila. "Lumberjanes e Hilda, serie a fumetti scout tra ecocritica ed ecofemminismo." Italica Wratislaviensia 13, no. 1 (2022): 75–96. http://dx.doi.org/10.15804/iw.2022.13.1.04.

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Among the forms of children’s literature that deal with the complex relationship between humanity and nature, comics can offer various insights on the topic for boys and girls. In particular, children’s stories have recently revitalized the scout movement, interpreting it through new values related to identity, gender and ecology. This paper will consider two comic book series on scouting, Hilda (Luke Pearson, 2011–2019) and Lumberjanes (Noelle Stevenson, 2014–2020). Both works tell the story of a diverse group of characters involved in scouting activities: the stories, developed in natural se
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25

Vorontsov, D. V. "Gender Representations of Young Female “Boy’s Love” Fans." Social Psychology and Society 13, no. 4 (2022): 124–41. http://dx.doi.org/10.17759/sps.2022130408.

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<p style="text-align: justify;"><strong>Objective. </strong>To describe the relations between liking visual representations of male same-sex romance and gender representations of young female fans of BL. <strong>Background. </strong>Nowadays there is a globally spread interest in manga among teenagers. Manga has a vast diversity of styles, genres, and followers. Nevertheless, some heterosexual girls quite often demonstrate stable interest in the manga sub-genre focusing on homoerotic relationships between young – and frequently androgynous – ma
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Kim, Hyeshin. "Women's Games in Japan." Theory, Culture & Society 26, no. 2-3 (2009): 165–88. http://dx.doi.org/10.1177/0263276409103132.

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Women's games refers to a category of games developed and marketed exclusively for the consumption of women and girls in the Japanese gaming industry. Essentially gender-specific games comparable to the `games for girls' proposed by the girls' game movement in the USA, Japanese women's games are significant for their history, influence and function as a site for female gamers to play out various female identities and romantic fantasies within diverse generic structures. This article will first review previous research and literature on women and gaming, analyze the key issues raised in the dis
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Javadi, Hasan. "Modern Azeri Literature: Identity, Gender and Politics in the Poetry of Mö’jüz, by Hadi Sultan-Qurraie. Bloomington: Indiana University Turkish Studies, 2003. 244 pages, index, cartoons. US$29.99 (Paper) ISBN 1-878318-18-7." Middle East Studies Association Bulletin 39, no. 1 (2005): 133–34. http://dx.doi.org/10.1017/s002631840004791x.

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Parille, Ken, Kenneth Kidd, Jay Mechling, Victoria Cann, and Edward W. Morris. "Editorial Board Reflections on Formative Books and Other Media." Boyhood Studies 15, no. 1-2 (2022): 183–202. http://dx.doi.org/10.3167/bhs.2022.15010212.

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Reading Characters, People, and PropertiesIn this piece, I reflect on superhero comic books I read in my childhood and adolescence, noting that as I collected and read stories featuring the character known as the Silver Surfer, I slowly began to realize that the character’s traits, as established in the first comic in which he appeared, seemed to change in comics published later. In searching for explanations for these changes, I began to pay attention to a comic’s credits, recognizing that different writers and artists understood the character in different ways and often felt no obligation to
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29

Scheff, Hope. "It’s an American! It’s an Alien! It’s the Enigma of Superman." UF Journal of Undergraduate Research 22 (November 4, 2020). http://dx.doi.org/10.32473/ufjur.v22i0.121770.

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This essay explores American conceptions of otherness and national identity via comparative case studies of Superman in Action Comics #1 (1938, June 1) and twentieth century cartoons and comic strips that featured immigrant characters. While it is generally acknowledged amongst Superman scholars that Jerry Siegel and Joe Shuster, the creators of Superman, were avid comic strip fans, formal parallels between Superman and his cartoon precedents have escaped study. Recognizing Siegel’s and Shuster’s childhood love of immigrant comics strips enables scholars to see the connection between Superman
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Anjitha Tom. "Comic Elements as a System of Queer Expression: A Close Analysis of Maia Kobabe's Gender Queer: A Memoir." Literary Voice, February 22, 2024, 47–56. http://dx.doi.org/10.59136/lv.2024.2.1.6.

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The paper analyses the relationship between queer and comics, with a particular emphasis on Maia Kobabe's graphic memoir Gender Queer: A Memoir. It explores the narrative significance of comics and the convergence of queerness within the medium, framed within the theoretical frameworks of Scott McCloud, Richard Walsh, Ramzi Fawaz, and Darieck Scott. The primary objective of the study is to demonstrate how words and images interact to communicate Maia's gender and sexual identities in a way that defies accepted cultural norms. It analyses and exhibits the ability of the visual narrative to conv
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Espinosa Cevallos, Paola Alejandra, and Yamileth Arteaga Alcivar. "Construction of the child's identity and the influence of gender stereotypes." Revista VICTEC 5, no. 8 (2024). http://dx.doi.org/10.61395/victec.v5i8.140.

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The construction of gender identity in childhood is a topic of great importance, since it influences the personal and social development of boys and girls. Several investigations have shown that gender stereotypes present in society have a great influence on the construction of children's gender identity. In this sense, different aspects that can influence the formation of stereotypes have been analyzed, such as classic stories, children's advertising, television consumption, gender roles in play, toys and cartoons. In addition, social factors such as family and school have been identified tha
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Classon Frangos, Mike. "Swedish Norm-Critical Comics and the Comics Pedagogy of Lynda Barry." Comics Grid: Journal of Comics Scholarship 11, no. 1 (2021). http://dx.doi.org/10.16995/cg.4042.

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This article considers the parallel developments of feminist comics and norm-critical pedagogy and in Sweden in order to explore comics as a medium for questioning norms of representation, in part by way of the influence of Lynda Barry’s comics pedagogy on Swedish comics publications and comics curricula. Barry’s pedagogical works are inspired by the spontaneous drawing exercises of Ivan Brunetti and rooted in her theory of the image as an embodied, living experience. In dialogue with Barry’s comics pedagogy, the article shows how a number of contemporary Swedish graphic novels by Freja Erixån
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33

Cherian, Gem, and Basil Thomas. "THE POLITICS OF CUISINE: PORTRAYAL OF FOOD CULTURE IN THE CARTOONS OF TOMS." ShodhKosh: Journal of Visual and Performing Arts 4, no. 1 (2023). http://dx.doi.org/10.29121/shodhkosh.v4.i1.2023.329.

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Culture is a way of living encoded in dress, food, religion, values, and more subjectively practised in a human society. As a medium of portraying the everyday cultural and social happenings in the society, cartoons serve as a subtle and satiric critique of the same. Cuisine is a multisensory experience, inevitable as a daily need but often undervalued in the semiotic signification it entails. Food defines communal as well as territorial or regional identity. It is a potent symbol of the dynamics of gender, space, and identity. The social, cultural, and economic aspects of a society influence
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Mitchell, Paul. "Illness and (hyper)masculinity in ‘HIMM’ comics from the USA." Medical Humanities, December 26, 2023, medhum—2023–012767. http://dx.doi.org/10.1136/medhum-2023-012767.

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In this essay, I analyse HIMM comics from the USA, a specific textualisation of graphic medicine/pathography that deals with a variety of illness experiences by male cartoonists. It is my contention that, in the existing literature, the motif of masculinity in autobiographical health-related comics is an underdeveloped area of academic enquiry. As a result, my analysis focuses on how three North American men depict ill health in their work in relation to existing sociological understandings of male behaviour. The texts I discuss are John Porcellino’sThe Hospital Suite(2014), a story about his
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Bikowski, Kyle. "Holy Problematics Fabman!: how current representations create a missed opportunity for superhero comics to aid in gay youth identity development." Journal of Gender Studies, October 23, 2020, 1–10. http://dx.doi.org/10.1080/09589236.2020.1838889.

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"Using (Visual) Humor to Demarcate Social and Symbolic Boundaries." Current Trends in Mass Communication 2, no. 1 (2023). http://dx.doi.org/10.33140/ctmc.02.01.05.

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While humor has a long résumé as a “window into the unconscious,” the boundaries it strikes against are understudied. Are people offended in particular, predictable ways? This online survey (N=1,178) that gathers demographic, biographic, and psychological data in combination with responses to 22 wordless cartoons, reveals distinct social patterns in offend ability. With reference to anthropological, psychological, philosophical and neuroscientific traditions, “offend ability” is conceptualized in cultural sociological terms, by which “offense” is read as the “striking against” of a symbolic bo
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Maguire, Emma. "Home, About, Shop, Contact: Constructing an Authorial Persona via the Author Website." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.821.

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Introduction Let me start by telling you about my “first-world problem”: I study girls’ autobiographical practice in digital spaces but the conceptual tools in my field have been developed chiefly in order to read and analyse printed books. Girls’ digital engagements with self-representation—such as web comics and blogs—are fascinating texts and I want to know what they can tell us about how girls’ written selves connect in complex ways to broader cultural constructions of girlhood. The Greek roots of the word autobiography autos, bios, and graphe (self, life, writing) inform the kinds of appr
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"Sociolinguistics." Language Teaching 39, no. 4 (2006): 312–17. http://dx.doi.org/10.1017/s0261444806273853.

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06–816Afful, Joseph Benjamin Archibald (National U Singapore, Singapore), Address terms among university students in Ghana: A case study. Language and International Communication (Multilingual Matters) 6.1 (2006), 76–91.06–817Bhatia, Tej K. (Syracuse U, USA; tkbhatia@syr.edu), Super-heroes to super languages: American popular culture through South Asian language comics. World Englishes (Blackwell) 25.2 (2006), 279–298.06–818Clark, Rose (U Portsmouth, UK) & S. N. Gieve, On the discursive construction of ‘the Chinese learner’. Language, Culture and Curriculum (Multilingual Matters) 19.1 (200
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Brien, Donna Lee, and Adele Wessell. "Pig: A Scholarly View." M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.317.

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In George Orwell’s Animal Farm, the pigs infamously changed the law to read: “some animals are more equal than others” (108). From Charlotte’s Web to Babe, there are a plethora of contemporary cultural references, as well as expressions of their intelligence and worth, which would seem to support the pigs’ cause. However, simultaneously, the term “pig” is also synonymous with negative attributes—greed, dirtiness, disarray, brutality and chauvinism. Pigs are also used to name those out of favour, including police officers, the obese, capitalists and male chauvinists. Yet, the animal’s name is a
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Piatti-Farnell, Lorna, and Erin Mercer. "Gothic: New Directions in Media and Popular Culture." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.880.

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In a field of study as well-established as the Gothic, it is surprising how much contention there is over precisely what that term refers to. Is Gothic a genre, for example, or a mode? Should it be only applicable to literary and film texts that deal with tropes of haunting and trauma set in a gloomy atmosphere, or might it meaningfully be applied to other cultural forms of production, such as music or animation? Can television shows aimed at children be considered Gothic? What about food? When is something “Gothic” and when is it “horror”? Is there even a difference? The Gothic as a phenomeno
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41

Bourdaa, Mélanie. "From One Medium to the Next: How Comic Books Create Richer Storylines." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1355.

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Transmedia storytelling, as defined by Henry Jenkins in 2006 in his book Convergence Culture, highlights a production strategy that aims to augment the narration of a cultural work by scattering it across several media platforms—digital or non-digital. The term is certainly quite recent, but the practices are not new and allow us to understand the evolution of the cultural industries and the creation of a new media ecosystem. As Matthew Freeman states, transmedia storytelling always relies on industrial changes, the narration adapting itself to new media synergies and novelties to create engag
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42

Scholz, Trebor, and Rachel Cobcroft. "Free." M/C Journal 9, no. 4 (2006). http://dx.doi.org/10.5204/mcj.2640.

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 This issue of M/C Journal reclaims the language of “freedom”. 
 
 The selected articles demonstrate that today freedom is frequently overruled in the name of a permanent state of emergency. Present-day politics shows countless instances in which information, knowledge and culture are not seen as an inalienable right but are rather oppressed and distorted. Freedom is the freedom to say “no”, to withdraw your collaboration, to refuse friendly cooperation! To be “free” means to be able to enact your identity without having to capitulate to the ruling forces t
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43

Holloway, Donell, and David Holloway. "Zero to hero." M/C Journal 5, no. 6 (2002). http://dx.doi.org/10.5204/mcj.1997.

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Western images of Japan tell a seemingly incongruous story of love, sex and marriage – one full of contradictions and conflicting moral codes. We sometimes hear intriguing stories about the unique sexual culture of Japan – from vending machines that dispense soiled schoolgirl panties (Gerster 143), erotic manga (Ito 70; Newitz 2) to automated love hotels (Kersten 387) available for the discreet quickie. These Western portrayals seem to focus primarily on the unusual and quirky side of Japan’s culture constructing this modern Asian culture as simultaneously traditional and seemingly liberated.
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44

Leishman, Kirsty. "Flesh." M/C Journal 2, no. 3 (1999). http://dx.doi.org/10.5204/mcj.1748.

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When I think of 'flesh' at this moment in human history, it's difficult not to think of the images on television and in print news reports in recent weeks. The first pictures of Kosovo's Albanian population being purged from their homes and amassed on the borders of neighbouring countries have left an impression. While cameras have stood witness from afar, we have been confronted by images of people being shot at point-blank range. Rows of corpses have lined up after ill-executed bombing raids by NATO forces and the more systematic slaughter of pro-independence activists by wayward Indonesian
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45

Brennan, Joseph. "Slash Manips: Remixing Popular Media with Gay Pornography." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.677.

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A slash manip is a photo remix that montages visual signs from popular media with those from gay pornography, creating a new cultural artefact. Slash (see Russ) is a fannish practice that homoeroticises the bonds between male media characters and personalities—female pairings are categorised separately as ‘femslash’. Slash has been defined almost exclusively as a female practice. While fandom is indeed “women-centred” (Bury 2), such definitions have a tendency to exclude male contributions. Remix has been well acknowledged in discussions on slash, most notably video remix in relation to slash
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46

Chen, Jasmine Yu-Hsing. "Beyond Words." M/C Journal 27, no. 2 (2024). http://dx.doi.org/10.5204/mcj.3033.

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Introduction Despite the expansive and multimodal realm of Chinese Boys’ Love (BL) culture (also known as danmei in Chinese), audio works have been notably absent from scholarly discussions, with the focus predominantly being on novels (e.g. Bai; Zhang). This article aims to fill this gap by delving into the transformative impact of sound on narrative engagement within the Chinese BL culture. Focussing on the audio drama adaptations of Grandmaster of Demonic Cultivation (modao zushi, hereafter Grandmaster), originally a serialised Chinese BL novel, this analysis aims to unravel the meticulousl
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Peoples, Sharon Margaret. "Fashioning the Curator: The Chinese at the Lambing Flat Folk Museum." M/C Journal 18, no. 4 (2015). http://dx.doi.org/10.5204/mcj.1013.

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IntroductionIn March 2015, I visited the Lambing Flat Folk Museum (established 1967) in the “cherry capital of Australia”, the town of Young, New South Wales, in preparation for a student excursion. Like other Australian folk museums, this museum focuses on the ordinary and the everyday of rural life, and is heavily reliant on local history, local historians, volunteers, and donated objects for the collection. It may not sound as though the Lambing Flat Folk Museum (LFFM) holds much potential for a fashion curator, as fashion exhibitions have become high points of innovation in exhibition desi
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