Posted in Contextual Studies Year 2


  • Mainstream television does not reflect the civil rights gain progress, and still lacks the portrayal of diverse sexual forms and still focuses on reproducing hetero-normativity

Gurr, B.A. (2015) Race, gender, and sexuality in post-apocalyptic TV and film. Hampshire, UK: Palgrave Macmillan.

  • Adverts always use women as objects to be surveyed – passive and sexual desire – fashion photography also adds to this voyeuristic approach
  • Body language used to perpetuate gender roles

Wells, L. (2004) Photography: A critical introduction. 3rd edn. London, NY: Routledge.

  • Film, video and photography allow an arena in which to explore gender identity
  • Photography’s aura of realism promotes a fantasy of gender transformations
  • The equality between men and women during the period between the two world wars created fear that women were becoming men
  • Masculinity and femininity are masquerades created by performance and dress
  • Judith Butler – gender is an impersonation – becoming gendered involves impersonating an ideal
  • Cross dressing is seen as performance
  • Throughout history there have been attempts at creating a third sex – the androgyne
  • Hannah Hoch’s montages mixing boyd parts and clothing – fantastical creatures – titles of montages (eg. Vagabonds, clowns, dancers) refer to performers who are often ostracised for their lack of conformity with society’s norm – the freak

Blessing, J. (1997) Rrose is a Rrose is a Rrose: Gender Performance in Photography. New York: Guggenheim Foundation.


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