Female heroine in the media representation

Introduction

Themes and schedule

  1.  Introduction – students, teacher, and course are introducing themselves
  2.  The role of women in media (advertisement, movies, and TV series)
  3. Female and male genres: soap operas and tragic structure of the feeling (from Dallas to Emily in Paris)
  4. Crime-heroine and her position in the masculine genre
  5. What about men? (Guest lecturer)
  6. Fantastic world of superheroines
  7. Female heroines and intersectional identities
  8. Produsers and the world of social networks (YouTube, TikTok, and Instagram)
  9. The world according to fans: repairing the damage of mainstream media
  10. 11. and 12.  Student’s presentations: “My female heroine 1”

  • can originate in a book, movie, or TV series (and other media if you find such)
  • you will have 8 minutes to say and show: who it is, why this is an important (or conversely toxic)  heroine (to/for you and generally), and what is "good and/or bad" about her representation (while using some theoretical background you learned). Summing up - why should we be interested in her in our course
13.  (Oral) group exam (groups of 3-4 people discussing the topics of the course)
  • you will choose (among the group) an exemplar heroine and issue and discuss it using the perspectives learned in the course 

 Literature:

Fiske, John. 2003. Television Culture. London: Routledge.

Gill, Rosalind. 2007. Gender and the Media. Cambridge: Polity Press.

Gill, Rosalind. 2016. “Post-postfeminism?: New Feminist Visibilities in Postfeminist Times.” Feminist Media Studies, 16(4): 1-21.

Goffman, Erving. 1976. Gender Advertisements. Palgrave.

Hall, Stuart. 1997. „Stereotyping as a signifying practice.“ In: Hall, Stuart. Representation: Culture Representations and Signifying Practices. London: Sage.

Jermyn, Deborah. 2017. “Silk Blouses and Fedoras: The Female Detective, Contemporary TV Crime Drama and the Predicaments of Postfeminism.“ Crime Media Culture, 13 (3): 259-276.

Kuhn, Anette. 2003. „Women’s Genres.“ In: Brundson, Charlotte a spol. Feminist Television Criticism. Oxford : Clarendon Press, 2003, 145-155.

Angela McRobbie. 2009. The Aftermath of Feminism: Gender, Culture, and Social Change. Sage.

Mizejewski, Linda. 2004. Hardboiled and High Heeled: The Woman Detective in Popular Culture. Routledge.

Mulvey, Laura. 1975. Visual Pleasure and Narrative Cinema. Screen,16(3): s 6-18.

 

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