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Full-Text Articles in Social and Behavioral Sciences
Original Gangsters: Genre, Crime, And The Violences Of Settler Democracy, Sean M. Kennedy
Original Gangsters: Genre, Crime, And The Violences Of Settler Democracy, Sean M. Kennedy
Dissertations, Theses, and Capstone Projects
Building upon examinations of genericity, subalternity, and carcerality by Black, Indigenous, and women-of-color feminist scholars, my dissertation offers an account of how truth claims are produced and sustained to limit social change in representatively governed societies. Taking the gangster genre as my lens, I first resituate the form, assumed to depict white-ethnic conflict in the U.S. and Europe, as a type of resistance to race-based political economic policies imposed by imperial regimes. After linking the subaltern classes of pre-20th-century southern Europe, southern Africa, South Asia, and the U.S. South—all subjected to criminalization as a mode of colonial and capitalist control—I …
Apocalypse And Eschatology In John Ford's The Grapes Of Wrath (1940), Nancy Wright
Apocalypse And Eschatology In John Ford's The Grapes Of Wrath (1940), Nancy Wright
Journal of Religion & Film
John Ford’s The Grapes of Wrath (1940) visualizes conventions of the apocalypse genre to represent not simply a particular historical setting, the Great Depression, but also a vision of history to be interpreted in terms of eschatology. Expressionistic photography transforms the characters’ experiences into enigmatic visions that invite and guide interpretation. A comparison of montage sequences in Ford’s The Grapes of Wrath and Pare Lorentz’s The Plow That Broke The Plains (1936), a Farm Security Administration documentary, clarifies how Ford’s narrative film aligns spectators within and outside the mise-en-scène.
The Evolution Of Revenge: Genre, Feminist Theory And Jennifer’S Body, Sophia Birks
The Evolution Of Revenge: Genre, Feminist Theory And Jennifer’S Body, Sophia Birks
Capstone Showcase
The representation and proliferation of violence against women in media, when applying genre theory, reflects the social climate of rape culture and the social response to sexual violence. Looking at the Rape-Revenge genre through the scope of Feminist Theory, the only way to reintroduce female agency into a trauma led narrative is to reclaim the tropes used to perpetuation female exploitation and a popular culture ambivalent to male on female violence. Within this subversion and deconstruction, a genre benefiting from female trauma finally includes an honest artistic retelling of that female experience. With the intention of the creator in line …