Kyra Clarke Kyra Clarke i(7783634 works by)
Gender: Female
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1 Introduction : Gender and the Everyday : Contemporary Communication Culture, and Media Kyra Clarke , Rob Cover , Lauren O’Mahony , Debbie Rodan , Michele Willson , 2018 single work criticism
— Appears in: Outskirts : Feminisms along the Edge , May no. 38 2018;

'Communication, culture and media are embedded in our everyday lives in ways we are often unaware of. Whether we wake up and reach for our phone or think carefully about how to phrase a difficult sentence in an email, these multiple forms of communication, culture and media are embedded in our everyday. At conception and the first ultrasound image, a gender designation is ascribed that affects our everyday lives in innumerable ways – from the toys we are given, to sports that we play, to conceptions of self and the life choices available to us. Our gender inflects our everyday experiences and engagements with our bodies and those around us, and this becomes more and more evident as we manoeuvre into public, private and digital spaces. This special issue shares a handful of the papers initially presented at the “Gender and the Everyday: Contemporary Communication, Culture and Media” conference hosted by The Western Australian Communication, Culture and Media group (WACCM) and held at Murdoch University in September 2017.' (Introduction)

1 Surrendering Expectations of the Girl in Julia Leigh's Sleeping Beauty Kyra Clarke , 2014 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 8 no. 1 2014; (p. 2-15)
'Following a screening of Julia Leigh's Sleeping Beauty (2011) at the Sydney Film Festival in 2011, I was surprised by the antagonism in questioners' responses to the main character Lucy which appeared to reify the ‘girl’ within conventional expectations of feminine behaviour. Lucy is a young university student who, as one of many part-time jobs, is voluntarily drugged so as to sleep naked and peacefully in bed with older men who may do with her as they wish, so long as they do not penetrate her. Identifying Lucy as ‘girl’ highlights both the space of liminality in which she exists and the desire for her to transition through this stage of her life to become a responsible woman. I examine the expectations of girls produced in the media and society and the contradictions they entail, the vulnerability that Lucy's employment as a sleeping beauty represents, and the ways in which the character encourages viewers to rethink what constitutes passivity. I argue that Sleeping Beauty highlights the importance of placing aside such expectations and accepting the challenge of confused and imperfect representations. Indeed, surrendering such expectations enables recognition of the heteronormative constraints that structure society.' (Publication summary)
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