y separately published work icon Outskirts : Feminisms along the Edge periodical issue   peer reviewed assertion
Issue Details: First known date: 2016... no. 35 November 2016 of Outskirts : Feminisms along the Edge est. 1996 Outskirts : Feminisms along the Edge
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

AbstractHistoryArchive Description

'Feminist Readings of Film and Television: Articles on class and femininity in Snog, Marry, Avoid, female “madness” in Insidious, gender representation and Frozen, postfeminism and Weeds, and teaching gender and race with The Golden Girls. ' (Publication abstract)

Notes

  • Content indexing in process.

Contents

* Contents derived from the 2016 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Female "Madness" as the Driving Force behind the Monstrous in the Insidious Film Series, Maja Pandzic , single work criticism
'This article offers a feminist reading of the Insidious film series through identifying the links between the monstrous and the female characters in the narrative. In reading the monstrous as the product of the anxious heroine, I draw upon Barbara Creed’s understanding of the “abject” and classify it as that which strives to destabilize the system of traditional gender roles confining female protagonists. I also maintain that the home in the films is presented as the primary site of horror because it is in fact the location of heroines’ imprisonment; of their false attachment, as the home in our society is principally a place concealing patriarchal power relations. By drawing upon Jane Ussher’s research on disorders I underscore anxiety in women as a social construct and a reasonable response to their repressive lives in patriarchal society. The anxiety of female protagonists is the result both of being overburdened with domestic/maternal duties and their inability to attain self-fulfilment. I propose the reading of the monstrous in the films as the combination of two strategies of resistance Ussher claims are central to battling this socially constructed/contracted “madness”. Firstly, it represents the rejection of idealized femininity. Secondly, it is a product of engagement in creativity, through which the heroine voices her distress. By thoroughly analyzing the experiences of female characters—a mother of three (Renai), two single mothers (Lorraine, Michelle) and a teenage girl (Quinn)—I not only trace the emergence of the monstrous to the climax of their anxiety but show that the demons with whom they share numerous similarities, are in fact disrupting the traditional family, punishing or forcing male protagonists to accept a share of domestic and parental duties, and thus improving the status of female characters. ' (Publication abstract)
Book Review : ‘We Need a Nice New Goddess’, Deborah Jordan , single work review essay
'Let’s state the obvious. Ink in Her Veins, the Troubled Life of Aileen Palmer, poet, translator, activist, and mad woman and psychiatric patient, is a biography that should be read by every Australian feminist, every Australian gay person and should find an international readership. It’s the enthralling tale of a woman caught out in the maelstrom of her times. The stories we tell ourselves about our lives, about our choices, and about our culture profoundly shape our decisions and our actions. In many ways Ink in Her Veins is paradigmatic. Let’s first outline the bare facts of Aileen Palmer’s life as so ably marshalled by Sylvia Martin, before delving into broader questions about how we may understand our past to better frame our futures.' (Introduction)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Last amended 8 Jun 2017 08:41:18
Newspapers:
    Powered by Trove
    X