Search results

We live in very adversarial political times. Tribalism and hateful rhetoric abound. This chapter argues that this state of affairs was an inevitable consequence of political cable television. I blame Ted Turner and CNN. Once Ted showed the world that news could be a profit center, competition, differentiation, and partisan one-sided coverage in broadcasting were inevitable. Product differentiation of cable news stations coupled with confirmation biases that lead viewers to watch networks on which the broadcasters reinforce their political views polarizes public opinion. The chapter concludes with suggestions for climbing out of the downward spiral.

Up until the turn of the millennium, there had been very little positive representation of women and women in action characters in the action film genre. Two notable exceptions were Ellen Ripley in the Alien movies and Sarah Connor in the Terminator franchise. Whilst this has certainly changed over the last 20 years, one action/horror/science fiction heroine remains neglected: Project Alice in the six Resident Evil films. Portrayed by Milla Jovovich, and loosely based on the platform game character, Project Alice is strong, driven, motivated and tough. This chapter will, through detailed analysis of character, her physical presence through the clothing she wears, psychogeographical aspects, her use of weapons and narrative arc, clearly demonstrate the importance of Project Alice to the horror genre.

Transgender prisoners are subject to violence of many kinds. They are tortured, beaten, sexually assaulted, raped, and denied access to qualified public health services. This is because legal and justice systems in most countries disregard the unique conditions, needs, and requirements of transgender people. Transgender prisoners around the world suffer from mental health issues and lack of continuous access to sexual health services and hormone treatment. Like most countries in Southeast Asia, and regardless of a significantly large population of transgender prisoners, Thailand still provides no standard policies on how transgender prisoners should be managed, and transgender prisoners’ experiences remain under-researched. Through an anthropological and gendered lens, this chapter theoretically and practically examines transgender prisoners’ gendered life experiences behind bars in Thailand, debates transgender prisoners’ vulnerabilities and the myths behind them, identifies challenges around gendered-housing, analyses cultural nuances of Thai (trans)gender performativity in prisons, discusses the impact of heterosexual-binary prison management, and offers real-world policy recommendations, which are urgently needed by the Thai justice and correctional system.

After the extreme turn of the late 1980s and early 1990s of metal music, three northern England-based bands – My Dying Bride and Paradise Lost from Bradford, and Anathema from Liverpool, commonly referred to as ‘the Peaceville Three’ – went on to pioneer the musical style which came to be known as death/doom. Mid-1990s have seen these bands’ stylistic shift into a more gothic rock-influenced sound. This Paradise Lost-led shift gave birth to the style gothic/doom. Around this deviation, these bands also started to employ a different sense, or rather a sense, of locality in their music: Paradise Lost started calling themselves a Yorkshire band, instead of specifically Bradford; Anathema shot a video for their 1995 song ‘The Silent Enigma’ in Saddleworth Moor (historically part of West Riding of Yorkshire) in Manchester; and later, My Dying Bride became more and more ingrained in the Goth culture of Whitby, including releasing an extended-play titled The Barghest o’ Whitby (2011), a Dracula-inspired trail guide, and frequently appearing in festivals in Whitby. This ethnographic research with both musicians and fans further suggests the involvement of the North in making and perception of gothic/doom. Applying Michel de Certau’s idea stating that ‘every story is a spacial practice’ within the context of northern England landscape, gothic/doom metal style emerges as an act of northernness. The author proposes to discuss how this act is performed within these bands’ oeuvre and how it is perceived from the listener perspective using interviews with people from around the world, and musicological analyses of significant songs from the repertoire of this trio.

In this chapter, the authors examine the use of deceit to drive routine emergence. The authors do so by tracing the relationship among deceit, roles, and routine dynamics in the context of Romeo pimps and the women they lure into sex trafficking. Previous research has focused on routine participants openly negotiating their roles and expected interactions during the (re) creation of routines. In contrast, this study shows how Romeo pimps use deceit to control the co-constitution of roles and increasingly coercive actions of the “Romeo pimp routine” – a process of premeditated routine emergence designed to entrap the women. The authors contribute to the literature on routine dynamics by emphasizing the unexplored influence of deceit on the interplay between roles and routines. Bringing deception to center stage in routine dynamics highlights the importance of linking actors and actions to motivations that exist behind the veil of transparently observable behavior.

The chapter explores the image of the Soviet female spy in a variety of Bond films. Representations of Soviet women in these films are as intense as they are stereotypical. Tatiana Romanova (From Russia With Love, 1963), Anya ­Amasova (The Spy Who Loved Me, 1977), Pola Ivanova (A View to a Kill, 1985), the murderous dominatrix Xenia Onatopp (GoldenEye, 1995) and ­Natalya ­Simonova (GoldenEye) embody a combination of contradictory qualities. They are tough, strong, intellectual, successful and dangerous yet also feminine, ­sexual, beautiful and exotic. The presence of the dangerous communist seductress in Bond films petered out after the end of the Soviet Union.

This chapter also examines the origins of each of the stereotypes which seem to be a curious mixture of fantasy and reality of the fear and desire of the Western male gaze yet combined with elements of the Soviet ideology (for instance, the war on gender stereotypes in the Soviet Union and the heavy ideological emphasis on gender equality).