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SISTERS OF TAMAR AND DAUGHTERS OF EVE: THE EVANGELICAL VOICES OF #CHURCHTOO
Title
SISTERS OF TAMAR AND DAUGHTERS OF EVE: THE EVANGELICAL VOICES OF #CHURCHTOO.
Creator
Copley, Rachel, Caputi, Jane, Florida Atlantic University, Center for Women, Gender and Sexuality Studies, Dorothy F. Schmidt College of Arts and Letters
Abstract/Description
White evangelical culture is investigated here regarding the ways that its fundamental theological beliefs propagate and maintain patriarchal assumptions surrounding women. These beliefs further function to legitimate men’s sexual abuse of women and girls. While official theological evangelical beliefs may seem benign, and perhaps commendable to some, a closer examination suggests the mobilization of those beliefs create the foundation for enslavement and destruction of women. The fundamental...
Show moreWhite evangelical culture is investigated here regarding the ways that its fundamental theological beliefs propagate and maintain patriarchal assumptions surrounding women. These beliefs further function to legitimate men’s sexual abuse of women and girls. While official theological evangelical beliefs may seem benign, and perhaps commendable to some, a closer examination suggests the mobilization of those beliefs create the foundation for enslavement and destruction of women. The fundamental beliefs undergirding evangelicalism propagate internalized oppression through patriarchal colonialism of women’s bodies, minds, and souls. Tactics of spiritual rape within White evangelical purity culture enact violence, control, and manipulation to appropriate and profit from the sacred power within the spirit of another. My analysis of #ChurchToo tweets demonstrates how formerly-evangelical women exorcize internalized patriarchal identities by reversing patriarchal myths, reclaiming, renaming and becoming Holy Haggard Hags who enact Righteous Fury through the Rage of Dreadful Women. Through the process of renaming and reclaiming, the confiscated and distorted power of the four Great Hags of Our Hidden History are recovered. The Myth of Evil Eve becomes “Ezer Kěnegdô,” Bathsheba the Innocent Lamb dethrones King David, Jezebel returns as a Confident, Clever, and Powerful Woman and her Spirit exorcises Satan’s Agents and Devouring Wolves, and Tamar the Trickster reappears as a Prophetess, with gifts to symbolize the collective power of sisterhood.
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Date Issued
2021
PURL
http://purl.flvc.org/fau/fd/FA00013791
Subject Headings
Evangelicalism, Patriarchy, Sex crimes--Religious aspects, MeToo movement
Format
Document (PDF)
An Examination of Recurring Misogynistic & Intersecting Sexist/Racist Female Character Tropes in Popular Science Fiction & Superhero Films & Television Since 1996
Title
An Examination of Recurring Misogynistic & Intersecting Sexist/Racist Female Character Tropes in Popular Science Fiction & Superhero Films & Television Since 1996.
Creator
Ronson, Jeannette H., Caputi, Jane, Florida Atlantic University, Center for Women, Gender and Sexuality Studies, Dorothy F. Schmidt College of Arts and Letters
Abstract/Description
The representation of lead female characters as sexually threatening or naturally deceptive, hysterical, or evil, especially non-White or non-gender conforming characters, in popular science fiction and superhero film and television productions over the past few decades is concerning in that these films promote misogynistic and intersecting racist and hetero/sexist tropes in genres that typically appeal to younger audiences. Within their historical roots as cheap print entertainment, i.e.,...
Show moreThe representation of lead female characters as sexually threatening or naturally deceptive, hysterical, or evil, especially non-White or non-gender conforming characters, in popular science fiction and superhero film and television productions over the past few decades is concerning in that these films promote misogynistic and intersecting racist and hetero/sexist tropes in genres that typically appeal to younger audiences. Within their historical roots as cheap print entertainment, i.e., pulp magazines and comic books, directed at White working-class boys and young men, these genres have historically, and unabashedly, featured scantily clad, sometimes racially stereotyped, sexually titillating temptresses such as the Dragon Lady and Catwoman that threatened the hyper-masculine hero as well as humanity. Ignored by literary and cinematic critics throughout the twentieth century as juvenile male fantasy entertainment, the science fiction and superhero genres in film and television now dominate Hollywood productions. Unfortunately, these genres in the twenty-first century still often promote damaging female tropes that suggest women as naturally defective, deceptive, power-hungry, irrational, raging monsters reminiscent of historical patriarchal myths of women. Additionally, a recent popular Netflix television series includes a character assigned female at birth (AFAB) who presents as gender non-conforming and carries attributes such as irrational rage and murderous violence that follows the historic cinematic trope of the “gleeful gay killer” as seen in Psycho (1960) and Dressed to Kill (1980). Although these themes in film and television are fantasy, they also mirror and bring to life the political and cultural anxieties of a significant number of men in our country who support the ideology of the manosphere that includes anti-feminist, anti-LGBTQ+, White supremacist, and racist beliefs. This dissertation examines three popular Hollywood films and one Emmy Award winning Netflix television series from the science-fiction and superhero genres since 1996 that reveal damaging female tropes that still prevail in popular entertainment.
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Date Issued
2023
PURL
http://purl.flvc.org/fau/fd/FA00014313
Subject Headings
Women in motion pictures, Tropes, Misogyny, Superhero films
Format
Document (PDF)
DECODING DEXTER: AN ANALYSIS OF AMERICA’S FAVORITE SERIAL KILLER
Title
DECODING DEXTER: AN ANALYSIS OF AMERICA’S FAVORITE SERIAL KILLER.
Creator
Burns-Davies, Erin, Caputi, Jane, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Center for Women, Gender and Sexuality Studies
Abstract/Description
In an intersectional feminist analysis of Dexter in both the novels by Jeff Lindsay as well as the Showtime television series, this dissertation will explore the challenging but compelling nature of the serial killer as a pop culture icon, and address themes of gender and sexuality as well as class, ethnicity and regions as they are portrayed in the series. Dexter Morgan, on the Showtime series and in the novels, both exposes popular culture’s problematic identification with the serial killer...
Show moreIn an intersectional feminist analysis of Dexter in both the novels by Jeff Lindsay as well as the Showtime television series, this dissertation will explore the challenging but compelling nature of the serial killer as a pop culture icon, and address themes of gender and sexuality as well as class, ethnicity and regions as they are portrayed in the series. Dexter Morgan, on the Showtime series and in the novels, both exposes popular culture’s problematic identification with the serial killer and solidifies it by being a socially palatable anti-hero.
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Date Issued
2019
PURL
http://purl.flvc.org/fau/fd/FA00013288
Subject Headings
Dexter, Crime in popular culture, Antiheroes, Serial murderers--Drama, Serial murderers--Fiction
Format
Document (PDF)
Fattitude The Movie: Theory and Praxis of Creating a Documentary that Examines Fat Representation and Fat Social Justice
Title
Fattitude The Movie: Theory and Praxis of Creating a Documentary that Examines Fat Representation and Fat Social Justice.
Creator
Averill, Lindsey, Caputi, Jane, Hagood, Taylor, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Center for Women, Gender and Sexuality Studies
Abstract/Description
This dissertation explores the making of and research for the film, Fattitude, a social justice based documentary that looks to awaken viewers to the reality of weight bias in media representation. This dissertation reviews the filmmaking process and then engages with the nature of stereotypes about fat bodies. Deeply tied to feminist and fat studies theory, the work here seeks to categorize and shape the understanding of weight bias in the media by linking fat tropes to clearly understood...
Show moreThis dissertation explores the making of and research for the film, Fattitude, a social justice based documentary that looks to awaken viewers to the reality of weight bias in media representation. This dissertation reviews the filmmaking process and then engages with the nature of stereotypes about fat bodies. Deeply tied to feminist and fat studies theory, the work here seeks to categorize and shape the understanding of weight bias in the media by linking fat tropes to clearly understood images of oppression, for example the monstrous, the fool, they hypersexual and the asexual. The work also seeks to present theory on the nature of creating media representations of fatness that are not oppressive – making note of current media created by grassroots movements for body acceptance and fat positivity.
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Date Issued
2017
PURL
http://purl.flvc.org/fau/fd/FA00004900, http://purl.flvc.org/fau/fd/FA00004900
Subject Headings
Fattitude., Body image--Social aspects., Discrimination against overweight persons., Feminine beauty (Aesthetics), Obesity., Body image in women., Self-esteem in women., Physical-appearance-based bias.
Format
Document (PDF)
Male Bonding: A Queer Analysis of the James Bond Canon
Title
Male Bonding: A Queer Analysis of the James Bond Canon.
Creator
Hester, Grant C., Caputi, Jane, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Center for Women, Gender, and Sexuality Studies, Communication, and Multimedia
Abstract/Description
The character of James Bond which was first introduced in Ian Fleming’s first novel Casino Royale in 1953 and was then featured in 11 subsequent novels, 2 volumes of short stories, and 24 film adaptations has long been considered to be the ultimate man’s man. There is no feat he cannot conquer, villain he cannot best, or lady he cannot bed. However, in an examination of both the novels and the film, clues exist to Bond’s deeper psyche—most notably his repressed homosexuality. While much...
Show moreThe character of James Bond which was first introduced in Ian Fleming’s first novel Casino Royale in 1953 and was then featured in 11 subsequent novels, 2 volumes of short stories, and 24 film adaptations has long been considered to be the ultimate man’s man. There is no feat he cannot conquer, villain he cannot best, or lady he cannot bed. However, in an examination of both the novels and the film, clues exist to Bond’s deeper psyche—most notably his repressed homosexuality. While much discussion has been had of Bond’s misogyny, in many ways it masks his true identity possibly even from himself. Utilizing a framework of theoretical analysis drawing upon Sigmund Freud, Jack Hallberstam, Judith Butler, Susan Sontag, Laura Mulvey, and Charles Klosterman (among many others), this dissertation will fully explore the character Fleming created. Additionally, by examining how the male gaze and camp elements have been utilized by the filmmakers in the Bond films, analysis will be conducted how those elements contribute to a “queerness” of the character’s film incarnations.
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Date Issued
2019
PURL
http://purl.flvc.org/fau/fd/FA00013216
Subject Headings
James Bond 007, Fictitious characters, Homosexuality, Queer
Format
Document (PDF)