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We study how one form of wrongdoing behavior – gender-based discrimination – evolved and steadily grew amongst longshoremen over seven decades (from 1947 to 2017), despite changes in the nature of work and technological innovations that made the occupation increasingly accessible to women. Using data collected from 72 interviews with retired and active longshoremen and their employers, supplemented with archival and observational data, we find that although women were permitted into the occupation at the beginning of the period (1947 to the 1960s), they were progressively, completely excluded by male longshore workers. We find that after experiencing imprinting (the idea that early experience exerts a crucial influence on later behavioral phenomena) (Immelmann, 1975) during early decades, longshoremen instrumentalized their fear of occupational decline and voluntarily engaged in organizational wrongdoing by discriminating against women. Men rationalized their exclusion of women through two means: first, by adapting the “Madonna vs temptress” paradigm of framing women, and second by strategically emphasizing self-serving justifications. This study contributes to the literature on gendered work and the difficulty of eliminating imprinted, entrenched behaviors in gendered occupations.

The ‘Terrible Mother’ traditionally connotes monstrous aspects of motherhood and devouring femininity, encompassing two stereotypical representation of women in myth, fairy tale and fantasy: The Seductress and the Wicked stepmother. The Seductress personifies female malevolence and is characterized as rebellious, manipulative and relentless. Furthermore, she often adopts male aggressiveness, especially sexual, thus usurping male prerogative. Ironically, the temptress is condemned for exhibiting traits which the male hero is lauded for, while also embodying a warning to other women regarding their fate should they rebel against male authority. These narrative strands converge in Cersei, who becomes an embodiment of male anxiety and stands as the chief moral foil and greatest sociopolitical threat to male hegemony.

Concomitantly, Cersei plays the part of the wicked stepmother to Sansa Stark, the series' archetypal damsel in distress. Like Sansa, Cersei began with starry-eyed dreams of womanhood, but quickly grew disillusioned. Despite this, Cersei subjects Sansa to the same injustices she suffered. This re-enactment of her own mistreatment situates Cersei as the female accomplice to the patriarchy. Yet, Cersei also attempts to educate Sansa about women's position vis-à-vis the patriarchy and the tools at their disposal, thus layering the role of the wicked stepmother. Furthermore, Cersei's narrative is complicated as she becomes a point of view character: her focalization becomes a fertile ground for myriad challenges to an androcentric culture, opening avenues for social criticism and possible reimagining of gender roles.

This chapter explores the presentation of women's violence in Tamil mega serials. Tamil mega serials are produced in India and aired six days a week on satellite television channels. The story revolves around households with extended families living together and issues affecting women such as family well-being, motherhood and fertility. Women mostly take the role of the main protagonist and antagonist in Tamil serials. This chapter analyses the presentation of violence in 10 episodes of Chandralekha, a Tamil mega serial. Perpetrators of violence in Tamil serials are mainly female antagonists and other characters supporting the antagonists. The rivalry between the protagonist and antagonist centres around the struggle for property or the love of or marriage with a man. The type of violence ranges from mild to severe kinds of physical violence, and non-physical violence. The presentation of violence in Tamil serials reflects gender inequality in society. The meaning of some forms of violence in mega serials is closely related to the traditional gender roles and notion of traditional femininity in society.

Chapter 4 shows and tells how to create visual art to achieve deep understanding about stories that individuals tell. Creating visual narrative art (VNA) of stories achieves several objectives. First, creating VNA revises and deepens sense-making of the meaning of events in the story and what the complete story implies about oneself and others. Second, creating VNA surfaces unconscious thinking of the protagonist and other actors in the story as well as the storyteller (recognizing that in many presentations of stories an actor in the story is also the storyteller); unconscious thinking in stories relating to consumer and brand experiences reflect one or more archetype (Jung 1916/1959) fulfillments by the protagonist and the storyteller; given that almost all authors agree on a distinction between processes that are unconscious, rapid, automatic, and high capacity, (System 1 processing) and those that are conscious, slow, and deliberative (System 2 processing, see Evans, 2008), VNA enables and enriches processing particularly relating to system 1 processing–enabling more emotional versus rational processing. Third, creating VNA of stories is inherently and uniquely fulfilling/ pleasurable/healing for the artist; using visual media allows artists to express emotions of the protagonist and/or audience member, to vent anger, or report bliss about events and outcomes that words alone cannot communicate; VNA provides a tangible, emotional, and holistic (gestalt) experience that is uniquely satisfying and does so in a form that many audience members enjoy over and over again. Chapter 4 elaborates on the rationales for its central proposition, briefly reviews relevant literature on VNA, and illustrates one mode of VNA for the complementary stories told by a consumer and brand.

During my second birth

Although those in academia are very aware of the need for increased representation of individuals from diverse and historically underrepresented backgrounds, many fail to recognize the true barriers to accomplishing such a goal. With this in mind, the author introduces her slam poem “I thought you were all extinct?” as an example of the lived experiences of one student of color in the world of Western academia. She discusses the challenges that she faces as an Indigenous scholar attempting to make room for herself in the field of anthropology as well as within the minds of others, including fellow academics.

Anatomy of a Murder, a beloved, highly influential, seemingly liberal 1959 classic law-film seems to appropriate some of the fading western genre’s features and social functions, intertwining the professional-plot western formula with a hero-lawyer variation on the classic western hero character, America’s 19th century archetypal True Man. In so doing, Anatomy revives the western genre’s honor code, embracing it into the hero-lawyer law-film. Concurrently, it accommodates the development of cinematic imagery of the emerging, professional elite groups, offering the public the notion of the professional super-lawyer, integrating legal professionalism with natural justice. In the course of establishing its Herculean lawyer, the film constitutes its female protagonist as a potential threat, subjecting her to a cinematic judgment of her sexual character and reinforcing the honor-based notion of woman’s sexual-guilt.

The figure of the femme fatale is attached to a range of contested meanings around femininity, sexuality and violence. Despite its ambiguity and its origins in art, myth and fiction, the term has proven popular in giving a name to violent articulations of female power in non-fictional settings by journalists. In this chapter, I outline the figure of the femme fatale as an archetype of women's violence that appears throughout Western popular culture, and provide an overview of the term's definitions and cultural meanings. In doing so, I trace the figure's movement across different forms and genres of popular culture. I identify a number of themes in the existing scholarship around the figure: feminist criticism of the figure; the value that feminist film scholars have found in the figure as a symbol of power and sexual transgression; the relationship between the femme fatale, race and the colonial imagination; and the way the idea of the femme fatale has been used in reporting of real-life women's violence.