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The key purpose of this chapter is to identify some ways of enhancing feminist conceptual, empirical, and theoretical work on violence against women. Much attention is given to addressing the harms caused by new electronic forms of woman abuse, including the role of adult Internet pornography and sex robots. This chapter also emphasises the importance of revisiting some major feminist contributions from the past.

This chapter aims to discuss the changes that are happening in the heart of the James Bond films especially with how women are described and treated in the newest versions of the movie franchise. For that, this chapter focusses on Miss Moneypenny, a recurrent presence since the very first movie, Dr. No (1962), and one that also appeared in Ian Fleming’s novels. Fleming based Moneypenny on four different women he knew, and she can be described as an intelligent, brave and beautiful person. Unfortunately, the original movie Moneypenny was painted as almost a comic relief, but since she was portrayed by the actress Naomie Harris in Skyfall (2012) and Spectre (2015), Eve Moneypenny (as she was not called) had an upgrade, becoming an action-oriented woman who provided a new base for the so-called ‘Bond Girls’ of the films.

This chapter seeks to compare and contrast two compelling portrayals of the bisexual or ‘gender-blind’ vampire: The Hunger (1983) and American Horror Story: Hotel (2015). These texts present a number of notable differences. They were released over 30 years apart and they also diverge markedly in form: Hotel is a 12-episode television serial, whilst The Hunger is a tight 97-minute-feature film. Whilst these differences highlight shifts in the format of horror more broadly, they also facilitate the reflection on whether the portrayal of the bisexual vampire has dramatically shifted alongside these changes. Such a reflection is ripe with potential given that in addition to their differences, both texts also share significant aesthetic and narrative similarities. Both Hotel and The Hunger foreground performativity and feature female protagonists who defy heteronormative understandings of gender and sexuality. Undoubtedly, Hotel can be read as an aesthetic homage to The Hunger. However, whether Hotel also echoes some of the more conservative aspects of the earlier film’s politics is a more complex question. Focusing on the ways that these female vampire protagonists, as well as a selection of their lovers and victims, are gendered, this chapter will illuminate a number of developments and lingering issues in the ways that horror depicts (or circumvents) complex facets of the relationship between bisexuality and gender.

Findings regarding the relationship between biological sex and job stress remain inconsistent. In the present chapter, we suggest that this is due to the overly simplistic and synonymous treatment of biological sex and gender. Specifically, researchers have operationalized gender as sex, neglecting the inherent complexity of the gender construct. To address this, we take a more nuanced approach and develop a theory around the effects of biological sex and gender on job stress, considering how sex, gender, sex-based prescribed gender roles and work roles interact to create role conflict. We predict that a lack of congruence between any of the aforementioned variables results in various types of role conflict, leading to stress, and requiring coping. Drawing on the literature on role conflict, emotional labor, and facades of conformity, we introduce the concept of gender façades as a coping mechanism. Theoretical and practical implications are discussed.