Search results

Racial stigma and racial criminalization have been centralizing pillars of the construction of Blackness in the United States. Taking such systemic injustice and racism as a given, then question then becomes how these macro-level arrangements are reflected in micro-level processes. This work uses radical interactionism and stigma theory to explore the potential implications for racialized identity construction and the development of “criminalized subjectivity” among Black undergraduate students at a predominately white university in the Midwest. I use semistructured interviews to explore the implications of racial stigma and criminalization on micro-level identity construction and how understandings of these issues can change across space and over the course of one's life. Findings demonstrate that Black university students are keenly aware of this particular stigma and its consequences in increasingly complex ways from the time they are school-aged children. They were aware of this stigma as a social fact but did not internalize it as a true reflection of themselves; said internalization was thwarted through strong self-concept and racial socialization. This increasingly complex awareness is also informed by an intersectional lens for some interviewees. I argue not only that the concept of stigma must be explicitly placed within these larger systems but also that understanding and identity-building are both rooted in ever-evolving processes of interaction and meaning-making. This research contributes to scholarship that applies a critical lens to Goffmanian stigma rooted in Black sociology and criminology and from the perspectives of the stigmatized themselves.

This chapter offers feminist perspectives on the violence exercised by female avengers in popular audiovisual products about narcotrafficking from Mexico and Colombia. Through the case studies of the narcotelenovela Rosario Tijeras (RCN Televisión, 2010) and the B movie Sanguinarios del M1 (Alonso Ortiz Lara, 2011), we explore how recent Latin American narco-narratives rearticulate the ‘rape-revenge’ film. Following Valencia's conceptualisation of necroempowerment (2012), we argue that female characters respond to rape with ruthless methods in an effort to regain agency. We combine existing literature in feminist film studies with postcolonial readings of the specificities of rape-revenge in the narco-universe where the violence these heroines use as retaliation is already the norm for their male counterparts. A close reading of revenge sequences underscores how vengeance can constitute a cathartic outlet for enraged female characters, challenging stereotypes of feminine passiveness and subverting gender hierarchies. However, it also perpetuates a patriarchal order based on toxic ideals of individual power achieved through bloody methods. We examine how empowerment can entrap female protagonists and serve to differentiate the types of violence that each gender has access to, and we discuss the problematic representation of rape as a transformative moment necessary for women to later become powerful.

This study aims at investigating creative labor and its production process in late capitalism. With technological convergence and digitalization, there emerged an information society and information economy. In the processes and procedures of this era, conditions and climate of working areas and labor processes directly based on innovation and creativity have undergone radical transformations. Also, it has become indispensable to scrutinize the concepts such as immaterial labor, autonomy, and subjectivity. So, this study focuses on Turkish freelance illustrators to highlight their production, autonomy, and value in transformed time and space. It aims to establish a better understanding of the Turkish freelancer illustrators’ valorization of labor and economic insecurity in the digital era of creative industries by using the techniques of open-ended questions and online semi-structured interviews with 12 freelance illustrators. Therefore, this study traces the question of how the working processes and work ethos of digital career fields in the creative industry are evaluated from the perspective of illustrators. It cannot be overlooked that this new working ethos allows them to work as self-employed, offering through non-contractual relationships, and non-standard contracts with the clients which give them more flexibility and autonomy as an artist to plan their own creative production processes. It is also clear that illustrators who adapted themselves to produce in a transformed time–space are aware of the difficulty in measuring and valorizing the value of the creative and emotional labor they put to work. In such a case, it can be said that illustrators, who see themselves as both an employer and employee at the same time, position themselves beyond the distinctions of blue collar and gray collar and blur the boundaries in organizational hierarchies.