Celebrities, gender-based violence and women’s rights: towards the transformation of the framework of recognition?

Fuentes, MJ Gámez; Nicolau, Emma Gómez; García, R Maseda

doi:10.4185/rlcs-2016-1123en

Cited by 4 publications

(3 citation statements)

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“…Given this context in which fat shaming has few negative consequences (Crandall, 1994), it is understandable that our participants echoed prominent social mores. Van Amsterdam (2013) identified this as a “big fat inequality” where discrimination based on body size parallels the biases found in racist, ableist, and misogynistic ideologies and practices; however, in our data we found that victim blaming—which is often done to women (Gámez Fuentes & Maseda García, 2018; Gómez Nicolau, 2018; Grubb & Turner, 2012)—was only exercised around sizeism. In this way, our findings align with prior research noting that victim blaming is differentiated by circumstance and correlated with discrimination (see Johnson et al., 2002).…”

Section: Discussion and Significancementioning

confidence: 48%

“…Scholars from several disciplines have argued that media depictions of violence perpetuate problematic notions, such as the vulnerability of women (Faulkner & MacDonald, 2009; Gámez Fuentes & Maseda García, 2018; Kaplan, 2005). While the literature problematizes media portrayals of direct violence in form of rapes, domestic abuse, and sexual aggressions, these analyses rarely link these acts of direct violence to the social structure or to the repetitive cultural representations that ultimately naturalize violence against women (Gámez Fuentes & Maseda García, 2018; Valencia & Herrera Sánchez, 2020). However, media can also make complex social phenomena visible, challenging dominant representations of gender violence and therein giving light to issues that do not get enough attention (Gill, 2007b; Kaplan, 2006; Maseda García et al., 2020).…”

Section: Theoretical Framework: Typologies Of Violencementioning

confidence: 99%

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Identifying and interpreting gendered violence: Visual literacy in an audience reception study of Issa López' Casi Divas

DeFeo,

García,

Kılıç

2024

J Adolescent & Adult Lit

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We present an audience reception study of participant reactions to gender‐based violence in Issa López' 2008 film, Casi Divas, chosen for its nuanced depiction of women grappling with several violences. Over three focus groups with 15 adult participants, we used Galtung's conflict theory to explore what participants identified as violence, and how victims should respond to violence in various forms. We find that participants have a narrow definition of violence, seeing it as an individualized act and therefore neglecting to consider its cultural or structural foundations. The participants' responses to violence largely reflected neoliberal values of personal empowerment and choice, resilience, and “leaning in.” We recommend critical visual literacy as a tool in the educational context to identify and address violence, to fight inequity, and to establish emancipatory discourses.

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Section: Discussion and Significancementioning

confidence: 48%

Section: Theoretical Framework: Typologies Of Violencementioning

confidence: 99%

Identifying and interpreting gendered violence: Visual literacy in an audience reception study of Issa López' Casi Divas

DeFeo,

García,

Kılıç

2024

J Adolescent & Adult Lit

View full text Add to dashboard Cite

show abstract

“…We will put it into dialogue with the work of Oliver (2001, 2004) and Kaplan (2005) on ethical witnessing to enquire into theoretical and methodological possibilities to approach the analysis and production of cultural products that attempt to break away from that polarization. To carry out this research, we have operationalized the concept of ethical witnessing into four dimensions of analysis so that we can detect what narrative strategies may constitute ethical witnessing (Gámez Fuentes et al, 2016; Gámez Fuentes and Maseda García, 2018; Maseda García and Gómez Nicolau, 2018). The four dimensions are (1) the relation between the subject victim and those who bear witness; (2) the very content of the testimony; (3) the approach on vulnerability, resistance and agency and (4) the links between the specific account of violence and the struggle for women’s rights and social justice.…”

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confidence: 99%

Breaking the logic of neoliberal victimhood: Vulnerability, interdependence and memory inCaptain Marvel(Anna Boden and Ryan Fleck, 2019)

Fuentes

2021

European Journal of Cultural Studies

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The contemporary visibility of women’s accomplishments and popular outcry in the face of injustice and/or violence might suggest that women have achieved their aim of putting long-fought feminist principles in the spotlight and have finally earned equality. However, let us not forget that, in the face of violence, the hegemonic matrix of intelligibility has also historically defined women victims by their ‘injurability’, so, intrinsically vulnerable, thus justifying the need of the system to assist them. It is not surprising, then, that, as a response to vulnerability, empowerment is celebrated. In this context, one would think that a blockbuster, such as Captain Marvel (2019), would reproduce the hegemonic economy of recognition where the subjects of violence are either treated as devoid of agency or offered empowerment through a neoliberal individualizing logic. However, the controversy that the film and its female protagonist raised (for adopting explicit feminist language to challenge patriarchy), along with the outcry of white angry men (symptomatized in male film critics) and the Internet nerd-culture (members of which considered themselves aggrieved by the film), provide a fruitful ground to look into the communicative logic of victimhood. Captain Marvel can help us to explore not only the chiaroscuros and phallacy of the victim versus empowered subject script but also the implicit logic that obscures the divisions that this logic perpetuates. In this respect, we are interested in analyzing how the movie stages: 1. The assignation and construction of female vulnerability in a hegemonic shared cultural narrative that privileges the construction of the empowered subject obscuring the politics of emotions; 2. The possibilities of empowerment before such a narrative and in relation to reclaiming historical and personal memories; 3. The sharing of the condition of vulnerability across gender and geographical boundaries and its relation with the criminalization of other vulnerable others such as aliens.

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Communication for Peaceful Social Change and Global Citizenry

Aldás¹,

Farné²,

Trujillo³

2020

Encyclopedia of the UN Sustainable Development Goals

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Communication, peaceful social change and global citizenry synthesize a communication model that combines individual and collective responsibilities that aim to denounce situations of direct, structural and cultural violence. This model sets goals and criteria grounded in peace, social justice, equality and human rights, to transgress and transform all types of violence and promote social, political and economic contexts of inclusive diversity that can develop into peace cultures. This approach to communication examines the cultural consequences, responsibilities and potential of narrative processes (the performativity of language) centered on cultural efficacy, advocacy and accountability parameters to attain peaceful societies.

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Celebrities, gender-based violence and women’s rights: towards the transformation of the framework of recognition?

Abstract: How to cite this article in bibliographies / References MJ Gámez Fuentes, E Gómez Nicolau, R Maseda García (2016): "Celebrities, gender-based violence and women"s rights: towards the transformation of the framework of recognition?".

Cited by 4 publications

References 1 publication

Identifying and interpreting gendered violence: Visual literacy in an audience reception study of Issa López' Casi Divas

Identifying and interpreting gendered violence: Visual literacy in an audience reception study of Issa López' Casi Divas

Breaking the logic of neoliberal victimhood: Vulnerability, interdependence and memory inCaptain Marvel(Anna Boden and Ryan Fleck, 2019)

Communication for Peaceful Social Change and Global Citizenry

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