Gendered (Re)Visions / Representations & Reflections (PDF)
Constructions of Gender in Audiovisual Media
(Sprache: Englisch)
In academic as well as in public debates audiovisual media have often been accused of perpetuating gender stereotypes and of confronting viewers time and again with traditional role models and binary concepts of masculinity and femininity. In recent years,...
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In academic as well as in public debates audiovisual media have often been accused of perpetuating gender stereotypes and of confronting viewers time and again with traditional role models and binary concepts of masculinity and femininity. In recent years, films, television series and music videos increasingly have shown women and men who transgress the traditional gender dichotomy. One of the central ideas behind this volume is the attempt to bring together explorations of 'gendering' in different audiovisual media. The contributions seek to explore in particular shifting constructions of femininity and masculinity and aim to provide further insight into the media- and genre-specific ways of constructing, perpetuating and challenging gender concepts in audiovisual media, taking into consideration the interplay of the different levels on which gendering occurs in them. Thus, two articles in the present volume address the processes of constructing, perpetuating and challenging notions of femininity and masculinity in music videos, while other contributions are dedicated to the analysis of gendering in films and/or TV series.
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The Female Voice in Sex and the City and Desperate Housewives: Voice-Over Narration in Contemporary American Television Series (S. 79-80)Stefanie Hoth
I. Introduction: Voice-Over Narration in Television Series
Voice-over is a constitutive part of many audiovisual formats, such as news, documentary films, commercials and sports commentaries. Although television series “usually have a ‘voiceless’ narrator, and thus normally do not give rise to the illusion that there is a ‘person’ or persona telling the story”,1 some TV series make frequent use of voice-over narration, often achieving diverse and complex functions in this manner. Voice-over narration has over the past decades been used in various series and is for example a constitutive part of the TV series The Wonder Years (1988 – 1993), in which a distinctly adult male voice relates the story of his younger self.
The log in the five Star Trek series is always presented via the voice-over of one of the characters;2 in the 1980s cult show Magnum (1980 – 1988) the protagonist frames the story of each episode with his comments. In the series A-Team (1983 –1987) each episode starts with the same words, spoken by the main character. Other television dramas only make use of voice-over narration in single episodes, thus loosening the customary structure of the show and challenging the viewer with this change of perspective.
3 Sitcoms such as Friends (1994 – 2004) and The Nanny (1993 –1999) apply voice-over narration every now and then in order to verbalise a character’s thoughts or feelings, as a form of interior monologue, thereby creating a comic or ironic discrepancy between what is said and what is thought. Although voice-over narration in fictional audiovisual narratives is anything but an occasional aberration, the implications which the corporeal presence of a narrating voice,4 and in our case
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a female voice, has for the narrative have long been neglected:5 “[D]espite a decade of attention by a few narratologists, the categories of sex, gender, and sexuality have remained on the margins of narratological inquiry”.
Especially in the past fifteen years female characters seem to have dominated voice-over narration almost completely – and very successfully :7 In the Golden Globe winning drama seriesMy So-Called Life (1994 –1995), 15-year-old Angela Carter relates the trials and tribulations of adolescence in diary-form. Shows like Ally McBeal (1997 –2002) with its unconventional way of depicting the eponymous protagonist’s feelings and thoughts followed suit and blazed the trail for no less successful series such as Sex and the City (1998 – 2004), or, more recently, Desperate Housewives (2004-) and the hospital drama Grey’s Anatomy (2005-).8 In comparison to the voice-over in the latter, which is rather conventional and
Especially in the past fifteen years female characters seem to have dominated voice-over narration almost completely – and very successfully :7 In the Golden Globe winning drama seriesMy So-Called Life (1994 –1995), 15-year-old Angela Carter relates the trials and tribulations of adolescence in diary-form. Shows like Ally McBeal (1997 –2002) with its unconventional way of depicting the eponymous protagonist’s feelings and thoughts followed suit and blazed the trail for no less successful series such as Sex and the City (1998 – 2004), or, more recently, Desperate Housewives (2004-) and the hospital drama Grey’s Anatomy (2005-).8 In comparison to the voice-over in the latter, which is rather conventional and
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Autoren-Porträt von Marion Gymnich, Kathrin Ruhl, Klaus Scheunemann
Prof. Dr. Marion Gymnich lehrt Anglistische Literatur- und Kulturwissenschaft an der Universität Bonn.
Bibliographische Angaben
- Autoren: Marion Gymnich , Kathrin Ruhl , Klaus Scheunemann
- 2010, 1. Auflage 2010, 270 Seiten, Englisch
- Herausgegeben: Marion Gymnich, Kathrin Ruhl, Klaus Scheunemann
- Verlag: V&R unipress
- ISBN-10: 3862346625
- ISBN-13: 9783862346622
- Erscheinungsdatum: 17.11.2010
Abhängig von Bildschirmgröße und eingestellter Schriftgröße kann die Seitenzahl auf Ihrem Lesegerät variieren.
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