Search results

This chapter adopts a reflective approach exploring and setting out the contrasting factors that led to the establishment of the subdiscipline in both countries. The factors included the role of key individuals and their respective academic backgrounds and specialisations within each country’s higher education system. Furthermore, attention is given to the particular circumstances in a case analysis comparison of the oldest programs in Aotearoa/New Zealand and Australia. This sheds light upon the factors linked to the disproportionate success profile for the sociology of sport in Aotearoa/New Zealand. An analysis of scholars and programs within each country reveals important differences aligned with the politics of funding and the variety and extent of systematic structures. Additionally, scholars’ specialisations and preferences reveal a broad offering but are primarily linked to globalisation, gender relations, indigeneity and race relations, social policy, and media studies. This work has been undertaken variously via the critical tradition including Birmingham School cultural studies, ethnographic and qualitative approaches and, more recently by some, a postmodern poststructuralist trend. Lastly, along with a brief discussion of current issues, future challenges are set out.

In almost 100 years of Colombian cinema, very few productions have had action-oriented narratives at the core of the film, as this cinema has chiefly developed around mainstream genres of melodrama and popular comedy. Rather than a cinematic end, ‘action’ has worked more as a specific means, mainly through thrillers, for directors to represent, question, and denounce the Colombian armed conflict – a central national issue for over 70 years. Whilst such films have tended to showcase male heroes, some recent productions subvert this tradition, and echo aspects of contemporary action cinema in Hollywood, where female representations problematise the perpetuated male image of the action hero.

This chapter examines contemporary Colombian films that offer hybrid images of female warriors who are (anti)heroic or disruptive, within the conventions of the action genre and within the dominant patriarchal discourse of Colombian narrative cinema, concentrating on Rosario Tijeras (Maillé, 2005) and La Sargento Matacho (González, 2017). Following research on Colombian cinema, context and conflict, this chapter highlights how female characters subsist in the public sphere, taking an active part in illegal armed organisations. It also questions how these representations may promote typologies of female emancipations (victimisers, anti-heroines, hybrid tomboys and war fighters), articulating key notions of emancipation. Ultimately, this chapter reiterates how postmodern representations of the female body subvert classic features of the Hollywood action cinema, by offering inaugural images of tough women within the Colombian/Hispanic popular culture and contexts, by examining particular sequences through Creed's multiple views on the female multi-faceted representations in cinema and Tasker's ample theory on action women and bodies.