Search results

The Final Girls (Todd Strauss-Schulson, 2015) is the story of a group of teenage friends that, during the screening of a Friday the 13th-like 1980s slasher horror, happen to be sucked into the film. Trapped in the gruesome narrative, they have to survive the deranged killer that haunts the premises of the campsite by applying their knowledge of the rules and cliches of the slasher genre. The film is of interest not only because it mixes horror and comedy and exaggerates the horror genre’s conventions – as Scream and other neo-slashers already did. By employing the device of the screen rupture, the film constructs a complex network of self-reflexive moments and intertextual references. The metalinguistic play involves in particular the notoriously sexophobic and gender-led dynamics of the 1980s slashers – those more emancipated girls who have sex are killed; the most prudish girl is the one that eventually manages to defeat the monster, the ‘Final Girl’. In this sense, the film is almost like a video essay that reprises and illustrates one of the most seminal study of the slasher genre, Carol Clover’s 1992 Men, Women, and Chainsaws: Gender in the Modern Horror Film. The chapter presents the defining elements of the slasher subgenre as theorized by Clover and then focusses on the analysis of the metalinguistic elements of The Final Girls vis-à-vis Clover’s classic text.

The Department of Homeland Security (DHS) states in 2018 that safeguarding “civil liberties is critical” to their official duties. The Office for Civil Rights and Civil Liberties within DHS, as its website explains,

reviews and assesses complaints from the public in areas such as: physical or other abuse; discrimination based on race, ethnicity, national origin, religion, gender, sexual orientation, or disability; inappropriate conditions of confinement; infringements of free speech; violation of right to due process … and any other civil rights or civil liberties violation related to a Department program or activity.

My chapter tracks the centrality of deportability in shaping the civil liberties and rights that DHS is tasked with enforcing. Over the course of the twentieth century, people on US soil saw an expanding list of civil liberties and civil rights. Important scholarship concentrates on the role of the courts, state and federal governments, advocacy groups, social movements, and foreign policy driving these constitutional and cultural changes. For instance, the scholarship illustrates that coming out of World War I, the US Supreme Court ruled that the First Amendment did not protect something the Justices labeled “irresponsible speech.” The Supreme Court soon changed course, opening up an era ever since of more robust First Amendment rights. What has not been undertaken in the literature is an examination of the relationship of deportability to the sweep of civil liberties and civil rights. Starting in the second decade of the twentieth century, federal immigration policymakers began multiplying types of immigration statuses. A century later, among many others, there is the H2A status for temporary low-wage workers, the H2B for skilled labor, and permanent residents with green cards. The deportability of each status constrains access to certain liberties and rights. Thus, in 2016, when people from the Office for Civil Rights and Civil Liberties within DHS act, they are not enforcing a uniform body of rights and liberties that applies equally to citizens and immigrants, or even within the large category of immigrants. Instead, they do so within a complicated matrix of liberties and rights attenuated by deportability, which has been shaped by the history of the twentieth century.

This essay explores the reactions within police departments toward sexual harassment scandals. The study describes and analyzes reported cases of sexual harassment and misconduct in police departments to discern citizen narratives and political consequences for elected officials. This assessment hypothesizes that political leadership is an essential element in establishing organizational cultures that combat sexual harassment in local governments. The article contributes to the knowledge about possible gaps in agenda setting, especially for a policy area in which knowledge and problem definitions continue to evolve.

While digital technologies have led to many important social and cultural advances worldwide, they also facilitate the perpetration of violence, abuse and harassment, known as technology-facilitated violence and abuse (TFVA). TFVA includes a spectrum of behaviors perpetrated online, offline, and through a range of technologies, including artificial intelligence, livestreaming, GPS tracking, and social media. This chapter provides an overview of TFVA, including a brief snapshot of existing quantitative and qualitative research relating to various forms of TFVA. It then discusses the aims and contributions of this book as a whole, before outlining five overarching themes arising from the contributions. The chapter concludes by mapping out the structure of the book.

Inquiry-based teaching and learning is a valued learning theory, which can transform a prescriptive, teacher-led classroom into a dynamic, active learning environment. Some factors to consider about inquiry-based activities are that they are designed to incorporate many strategies and techniques to develop students’ affective, social, and metacognition domains. Inquiry-based teaching and learning is most successful when students have some level of self-regulation and when faculty members provide meaningful guidance. Unfortunately, students are infrequently taught how to be self-regulated learners. In addition, faculty members are uncomfortable and under-incentivized to try innovative teaching pedagogies.

To illustrate the dichotomy of both the delivery of inquiry-based teaching and a student-centered approach, a DNA double helix is used as a metaphor and visual model. Importance is placed on designing learning experiences that can be adapted based on context, available technology, meaningful assessment, and positive student outcomes. Educational trends in higher education are explored and implications are drawn based on the research and programs being implemented at many universities and colleges. This chapter provides insight into how higher education institutions can scale inquiry-based teaching and learning through their strategic initiatives to promote faculty excellence. Evaluation frameworks and logic model planning strategies are included in this chapter.

Women’s representation is widely debated within the comic book cannon. Many comic and cultural scholars argue that women characters are overly sexualized, objectified, or excluded from this literary genre (Child, 2013; Danziger-Russell, 2012; Fesak, 2014; Lepore, 2014; Simone, 1999). However, few scholars have adequately addressed how comic book readers make sense of women’s representation within graphic storytelling. The author’s research addresses the issue of women’s representation in comics with special attention to how audiences interpret these supposed images of women’s empowerment. Capitalizing from the author’s time spent working at a local comic book store and a series of 20 in-depth interviews that the author conducted with comic book readers, the author draws from a series of personal field notes, participant observation, and transcribed interviews to understand how gendered relationships in comic books manifest in real-life experiences. Ultimately, the author argues that static comic book stereotypes about hegemonic masculinity and emphasized femininity shape consumers’ gendered realities. More specifically, this study demonstrates how popular character archetypes like the love interest, the nag, and the slut are redefining readers’ relationship to women both within and outside of comic book culture. By examining this culture, and its audience at large, this research advances a more nuanced understanding of how graphic narratives contribute to gender difference and violence against women, thereby situating women’s empowerment within popular culture.