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This chapter examines the nexus between women's experiences of domestic abuse and their subsequent violent offending, as viewed through the lens of keyworkers in a women-only charity. The role of female subjectivity, stereotypes of femininity and the gendering of behaviours is discussed, alongside an exploration of the paradox of the female ‘victim-offender’. Qualitative semi-structured interviews with the keyworkers, drawing on the author's experience of working in the system, enable individual voices to be captured in detail, resulting in a rich narrative piece. This is analysed thematically and framed conceptually by the work of Judith Butler on gender performativity and precarious existence, and Jessica Benjamin on the ‘Third’ and the potential of recognition to transcend the experience of gendered violence. The discussions lead to the conclusion that the keyworkers' attention to interpellatory dynamics and intersubjectivity effects powerful individual change. However, the impact of this is limited, as the criminal justice system itself acts as Benjamin's ‘moral Third’, maintaining its status quo of inequality and gendered violence through patriarchal attitudes and a corresponding language of exclusion.

Association Football (football) is currently recognised as the world's most popular women's sport (Andersson & Barker-Ruchti, 2019; Dunn & Welford, 2017). In this chapter, we build upon a Foucauldian-informed feminist body of work (e.g. Barker-Ruchti & Tinning, 2010; Liao & Markula, 2009; Markula, 2003) to analyse the impact of the ‘shift in approach and purpose’ in the women's game (Rosso, 2010). And, in doing so, seek to explore how the relations of power operating in the context of women's elite and professional football have changed over the last 20 years. Moreover, we consider the implications of these changes for both elite female players and those responsible for their development and welfare. To achieve our aim, we compare the experiences of two players (Christine and Maria, pseudonyms) from opposite ends of the last 20 years, all the while recognising that the partial and situated insights we provide in relation to these shifts are inevitably tied to the intersections of marginalised (female) and privileged (white, able-bodied, heterosexual, middle-class) subject positions.

This chapter examines how the breakthrough of Zhang Ziyi's depiction of a female kung fu master in The Grandmaster (2013) transforms the figure of the heroine in Chinese action films. Zhang is well known for her acting in action films conducted by renowned directors, such as Ang Lee, Zhang Yimou and Wong Kar-wai. After winning 12 different Best Actress awards for her portrayal of Gong Ruomei in The Grandmaster, Zhang announced that she would no longer perform in any action films to show her highest respect for the superlative character Gong. Tracing Zhang's transformational portrait of a heroine in The Grandmaster alongside her other action roles, this analysis demonstrates how her performance projects the directors' distinctive gender viewpoints. I argue that Zhang's characterisation of Gong remodels heroine-hood in Chinese action films. Inheriting the typical plot of a daughter's use of martial arts for revenge for her father's death, Gong breaks from conventional Chinese action films that highlight romantic love during a woman's adventure and the decisive final battle scene. Beyond the propensity for sensory stimulation, Gong's characterisation enables Zhang to determine that women can really act in action films – demonstrating their inner power and ability to create multi-layered characters – not merely relying upon physical action. This chapter offers a relational perspective of how women transform the action film genre not merely as gender spectacles but as embodied figures that represent emerging female subjectivity.

This paper discusses my perceived positionality in an ethnographic research project on the contentious issue of female circumcision in Southwest Cameroon. My bicultural identity as a Western‐trained, African anthropologist is associated with power because of my perceived alliance with the ‘Whiteman’ (western, rational, scientific knowledge) showing how the anti‐female circumcision campaigns based on discursive practices of mortality and the harmful health effect paradigm have backlashed, suggesting the need to re‐evaluate and be aware of power dynamics between practicing and nonpracticing societies in the construction of the diverse reality of female circumcision. The ritual practice should rather be seen as opened to both rationalisation and modernisation, suggesting that there can be a synergy between local and global, rational science.

This chapter explores the role of postmodern intertextuality in Neil Jordan’s 2012 vampire film Byzantium. This intertextuality serves to place the film in dialogue with earlier vampire fiction, in particular the 1970s cycle of British and European erotic vampire films such as Daughters of Darkness and The Vampire Lovers from Hammer Films. Byzantium recalls these earlier texts structurally and thematically, both through direct reference and more oblique allusions.

While Fredric Jameson characterizes postmodern intertextuality as mere nostalgia and the imitation of ‘dead styles’, feminist postmodern theorists such as Linda Hutcheon contend argue for the political potential of postmodernism. This chapter proposes that the postmodern intertextuality of Byzantium is a critical intertextuality, and that the foregrounding of storytelling, writing, and rewriting in the film draws attention to the ways in which the intertextuality of Byzantium is not merely a return to past forms but also a reworking of them.

Taking up the work of Linda Hutcheon and Catherine Constable, this chapter demonstrates the ways in which Byzantium critically reworks aspects of earlier vampire fiction in order to critique and expand the representation of the female vampire and through this explore issues relating to female subjectivity and community.

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.

X-Men is a movie franchise spanning 11 films centered on monsters and mutants (Braidotti, 1996), that is, the superheroes that appeared in the Marvel comics (Lauren Shuler Donner, 2000–2017). The franchise includes a rich compendium of male and female characters. Characters from both gender categories are gifted with powers and enjoy a remarkable focus from the plot. However, there are fewer female characters than male, and the former's powers are mainly related to the mind, rather than physical strength. If it is possible to immediately criticise the above-mentioned male focus, or the unequal distribution of powers, at the same time it is impossible to deny that both gender categories – male and female – reintroduce the gender binary that structures everyday reality in our current society (Butler, 2015). Such binary is a structural part of the cisgender and heteronormative system, inside which human beings carry out their existence. For these reasons, X-Men was interpreted by many transgender movements as a possible monstrous reclamation because it confers visibility to those bodies which are outside the norm (Preciado, 2020b) and it includes them in the context of a possible recognition as part of the cultural imaginary. This analysis, therefore, glimpses a possible liberation from the epistemological and material violence of the cisgender norm. This chapter will focus on the way in which the X-Men saga isn't faithful to a revolutionarily monstrous possibility, but rather carries out, through an apparatus of capture (Deleuze & Guattari, 2009), the reenactment of cis- and heteronormativity. In fact, those mutant and monstrous bodies represented here can be part of a highly popular franchise because they are part of the cisgender and heterosexual norm (Wittig, 1992) and because they put their monstrosity not outside the devices of power (Foucault, 2015), but at their service.

While popular genre fictions like detective novels are often centred around formulaic plots and stereotypical characters, they also undergo several exciting changes when adapted in a diverse array of cultural and linguistic contexts. My chapter examines the first female detective of a Bangla crime writing series, Detective (Goyenda) Krishna as a figure that challenges patriarchal stereotypes related to violent women and dismantles the illusory neatness of binaries associated with ‘good’ and ‘bad’ femininity. The gun-toting, vengeance-seeking literary detective is also examined as mediating shifts and transitions in gendered practices and norms in Bengal – its socio-political as well as literary contexts – as it negotiated ideas of decoloniality from the first decade of the twentieth century and emerged as part of a new, partitioned nation in 1947. She is seen as a creative response to the changes related to gender that had been gradually taking shape in colonised Bengal and as articulating radically re-imagined possibilities and opportunities related to female subjectivities in a newly decolonised nation.

Existing literature on the post-war agency of women combatants focuses on macro-level political and economic processes as measures of their agency in the post-war society. I try to present a more complicated and complete picture of women ex-combatants' experiences of post-war agency by including socio-cognitive process to understand their post-war experiences. After categorising the extant research into four categories – post-war as regression; structural forces shaping post-war regression; situated agency of women ex-combatants; and micro-politics of post-war – I introduce the concept of ‘strategic silence’. This concept indicates the capacity of female ex-combatants to consciously stay silent and to highlight the collective gains and empowerment for women while sacrificing the self. Secondly, I introduce the concept of ‘epistemic resistance’ which captures their ability to resist dominant narratives of social transformation by the Maoists in Nepal. I focus specifically on narratives around marriage during the insurgency. I conducted 39 extensive interviews during my fieldwork in Nepal (2017–2018) involving female ex-combatants, their leaders (male and female) and experts. This chapter makes an important intervention in feminist security studies and feminist international relations through a specific focus on gender in post-war reconstruction and peacebuilding.