GROUP 3 (BABR 3-1N) PDF

Fe m in i s m & G e n d e r Stu d i e s BABr 3-1N Group 3  Rebecca Jennings Admit One The $5,000 Quest for the Perfect Butt  Brazi li Lift ( an Butt BBL) surg...

Fe m in i s m & G e n d e r Stu d i e s BABr 3-1N Group 3  Rebecca Jennings Admit One The $5,000 Quest for the Perfect Butt  Brazi li Lift ( an Butt BBL) surgi is a proc cal e whic dure in h move a doctor s your fat from a hips, bdomen lowe , or th r ba ck, your i g hst butto o cks.  In 1960, surgeon Ivo Pitanguy established the world's first plastic surgery training center in Brazil, where he developed the technique now recognized as the Brazilian butt lift and trained surgeons worldwide in his methods.  It has become the fastest- growing cosmetic procedure globally since 2015, with the number of BBLs rising 77.6%. Most clinics promote BBL packages for approximately $5,500 (not including aftercare, which can quadruple the cost).  Choose Your Player Kim Kardashian's curves served as inspiration for millennials under pressure to appear beautiful on Instagram, which led to a record Select number of Brazilian butt lifts and an Set increasing plastic surgery market in View the US last 2018. Back  EXTRA EXTRA In 2018, the American Society of Plastic Surgeons released its annual report, which showed that butt augmentation with fat grafting—which inv o l v e s transferring unwanted fat from one area, such as the stomach, to the back side— was the fastest-growing segment, increasing 19 percent with 24,099 procedures.  Kayla Malveaux sat alone in the clinic's recovery room, slumped in a wheelchair with sharp facial pain and swollen eyes, unsure of the reason because of her recent surgery known as Brazilian Butt Lift. Similarly, Helly Larson, a 26- year-old podcaster from Georgia, underwent a BBL in 2019 at a Miami clinic. Both women sensed something wasn’t quite right as they lay in bed waiting for the procedure to begin. Four hours later, Helly recalls, the doctor finally arrived and expressed frustration over the anesthesiologist’s lack of professionalism. The death rates for BBLs have been, historically, not good. A 2017 study indicated a global death rate of one in 3,000, with 25 of those fatalities occurring in the U.S. within the prior five years. However, advancements in safety practices and greater awareness have led to a decline in these rates: by 2019, the risk had decreased to one in 14,921, and by 2020, it was down to one in 20,117. Accordingly, at the request of the Board of Medicine, the Department of Health reviewed its records to ascertain the number of Florida patient deaths associated with gluteal fat graft procedures performed in office surgery facilities since 2015 and produced the following figures: 2015 2016 2017 2018 2019 2020 2021 2022 TOTAL 1 1 4 4 2 1 5 3 21 OFFICE SURGERY GLUTEAL FAT GRAFTING RELATED DEATHS SINCE 2015 The only truly reliable way for patients to make an informed decision about where to undergo cosmetic surgery is by conducting thorough research. Resources such as certificationmatters.org and the American Board of Plastic Surgery enable individuals to verify doctors’ certifications in specific fields. New Technologies of Gender: Women & Film In Digital Era  Ro s a n n a M a u le emporary film She specializes in cont ies in the contemporary Professor of Film Stud authorship, European School of approaches to film Mel Hoppenheim cinema, and feminist University, and media studies. Cinema at Concordia Montreal. l book chapters atforms She has written severa Author of In Digital Pl les on topics course and film journal artic and Feminist Film Dis expertise. related to her areas of NEW TECHNOLOGIES OF GENDER: FEMINIST FILM WRITTEN BY: The book explores the relationship between feminist Rosanna Maule film discourse and digital platforms. 1 ST "In Digital Platforms and Feminist Film R I N Discourse" C HA P T E In this chapter, Rosanna K examines how digital TH E B O O advancements have reshaped gender representation and feminist discourse in cinema. NEW TECHNOLOGIES OF GENDER: FEMINIST FILM WRITTEN BY: The book explores the relationship between feminist Rosanna Maule film discourse and digital platforms. 1 ST "In Digital Platforms and Feminist Film R I N Discourse" T C H AP OK E In this chapter, Rosanna examines how digital T H E BO advancements have reshaped gender representation and feminist discourse in cinema.  The use of the internet to share and talk about the challenges women face in an industry traditionally controlled by men is continuously growing and this online presence is a way for Women's them to work outside the usual male-dominated Cinema 2.0 film industry. The set of practices here referred to as “Women’s Cinema 2.0” operates However, it doesn’t mean Web 2.0 manifestations within a global film of women’s cinema are industry and a public it will sphere that still Geopolitics of automatically get attention not always in opposition to a gender-blind culture This book advances a disparages women. Women's or spread industry or public sphere: instead, they document critical assessment of women’s film culture in its Cinemas 2.0 feminist ideas. the shifting and dynamic The term “Geopolitics Of positions of women current digital forms from within global cinema and within a theoretical Women’s Cinema 2.0” Digital spaces can framework that emphasizes the mark new forms of encompasses feminist film indeed provide new ways resistance to gender influence of geographical for women to connect theory, cyberfeminism, and factors on the discrimination within it. new media studies. with a broad, global (Rosanna Maule, 2016) production, distribution, audience, but these and consumption of spaces are also affected women's cinema in the by money and the ideas digital age. pushed by those in power.  Women's Cinema 2.0 The set of practices here referred to as “Women’s Cinema 2.0” operates within a global film industry and a public sphere that still disparages women. Geopolitics of Women's This book advances a critical Cinemas 2.0 assessment of women’s film culture in its current digital The term “Geopolitics Of forms from within a theoretical Women’s Cinema 2.0” framework that encompasses emphasizes the influence of feminist film theory, geographical factors on the cyberfeminism, and new media production, distribution, and studies. consumption of women's cinema in the digital age. The use of the internet to share and talk about the challenges women face in an industry traditionally controlled by men is continuously growing and this online presence is a way for them to work outside the usual male-dominated film industry. However, it doesn’t mean it will automatically get attention or spread feminist ideas. Digital spaces can indeed provide new ways for women to connect with a broad, global audience, but these spaces are also affected by money and the ideas pushed by those in power. Web 2.0 manifestations of women’s cinema are not always in opposition to a gender-blind culture industry or public sphere: instead, they document the shifting and dynamic positions of women within global cinema and mark new forms of resistance to gender discrimination within it. (Rosanna Maule, 2016)  The use of the internet to share and talk about the challenges women face in an industry traditionally controlled by men is continuously growing and this online presence is a way for Women's Cinema them to work outside the usual male-dominated 2.0 film industry. The set of practices here referred to as “Women’s Cinema 2.0” operates However, it within a global film doesn’t mean it will Web 2.0 manifestations of industry and a public sphere that still Geopolitics of automatical ly get women’s cinema are not always in opposition to a This book advances a disparages women. Women's attention or gender-blind culture industry or public sphere: critical assessment of Cinemas 2.0 spread feminist instead, they document the shifting and dynamic women’s film culture in its current digital forms from The term “Geopolitics Of ideas. positions of women within within a theoretical Women’s Cinema 2.0” global cinema and mark new framework that emphasizes the influence forms of resistance to encompasses feminist film of geographical factors Digital spaces can indeed gender discrimination theory, cyberfeminism, and provide new ways for within it. (Rosanna Maule, on the production, 2016) new media studies. distribution, and women to connect with a consumption of women's broad, global audience, but cinema in the digital age. these spaces are also affected by money and the ideas pushed by those in power.  The idea of The concept of women’s The idea of “women’s cinema” serves as the “minor cinema" cinema has been the also implies foundation for the films. object of critiques and Even if some of these geocultural debates even within platforms don’t reinstatement. feminist film discourse specifically identify with It is about Women’s cinema is also a “Two competing and since its emergence feminist tradition or openly use the term smaller, problematic term insofar definitions within within the women’s “women’s cinema,” their independent as it encompasses two, women’s cinema: movement. intent to produce, films that as a cinema for distribute, and circulate almost oppositional women’s films and to challenge the types of films: women or by open new opportunities mainstream. women” for women in the film While they may 1. Those associated industry is coherent with not be as the spirit of women’s with women film- cinema. widely seen as makers’ subjective Many women who work big-budget and authorial work in the film industry, like movies,they offer a space for Minor Cinema directors and producers, don't like the term women filmmakers to tell their stories and 2. Those conceived in It is a term borrowed "women's cinema." create their own from film theory, which mainstream modes refers to cinema that of production for communities. These operates outside the female spectators. They think it's too platforms use the mainstream, often limiting and even same technology as challenging dominant harmful to their careers big companies, but narratives and power in an industry that often structures. they use it in a favors certain types of different way, films. focusing on social How digital platforms enable women's cinema and political issues Even some directors who and giving a voice to to exist as a form of make films with feminist women who might "minor cinema," resisting themes don't want to be not otherwise have mainstream cinematic labeled as part of one. norms. "women's cinema."  T d w Women’s cinema is also a problematic term insofar as it encompasses two, “Two competing almost oppositional types of films: definitions within women’s 1. Those associated with cinema: as a cinema for women film-makers’ women or by women” subjective and authorial work 2. Those conceived in mainstream modes of production for female spectators. Many women who work in the film Minor Cinema It is a term borrowed from film theory, which refers to cinema that operates outside the mainstream, often challenging dominant narratives and power structures. How digital platforms enable women's cinema to exist as a form of "minor cinema," resisting mainstream cinematic norms.  women or by women” coherent with the spirit of ed with women’s cinema. akers’ authorial th ed in so odes of female Many women who work in the film industry, like directors and producers, don't like the term "women's cinema." They think it's too limiting and even harmful to their careers in an industry that often favors certain types of films. Even some directors who make films with feminist themes don't want to be labeled as part of "women's cinema."  The concept of women’s The idea of “women’s The idea of cinema has been the object cinema” serves as the “minor cinem of critiques and debates foundation for the films. also implies even within feminist film Even if some of these geocultural discourse and since its platforms don’t specifically reinstateme emergence within the identify with feminist is about sm ompeting women’s movement. tradition or openly use the independen ions within term “women’s cinema,” films that n’s cinema: their intent to produce, challenge th distribute, and circulate mainstream nema for While they m n or by women’s films and to open new opportunities for not be as w n” women in the film industry seen as big- is coherent with the spirit budget mov of women’s cinema. ” the The idea of “minor cinema" also implies geocultural n en’s reinstatement. It is ce, about smaller, independent films ew that challenge the he mainstream. While. they may not be as widely seen as big- budget movies, they offer a space for women filmmakers to tell their stories and create their own communities. These platforms use the same technology as big companies, but they use it in a different way, focusing on social and political issues and giving a voice to women who might not otherwise have one.  The idea of The concept of women’s The idea of “women’s cinema” serves as the “minor cinema" cinema has been the also implies foundation for the films. object of critiques and Even if some of these geocultural debates even within platforms don’t reinstatement. feminist film discourse specifically identify with It is about Women’s cinema is also a “Two competing and since its emergence feminist tradition or openly use the term smaller, problematic term insofar definitions within within the women’s “women’s cinema,” their independent as it encompasses two, women’s cinema: movement. intent to produce, films that as a cinema for distribute, and circulate almost oppositional women’s films and to challenge the types of films: women or by open new opportunities mainstream. women” for women in the film While they may 1. Those associated industry is coherent with not be as the spirit of women’s with women film- cinema. widely seen as makers’ subjective Many women who work big-budget and authorial work in the film industry, like movies,they offer a space for Minor Cinema directors and producers, don't like the term women filmmakers to tell their stories and 2. Those conceived in It is a term borrowed "women's cinema." create their own from film theory, which mainstream modes refers to cinema that of production for communities. These operates outside the female spectators. They think it's too platforms use the mainstream, often limiting and even same technology as challenging dominant harmful to their careers big companies, but narratives and power in an industry that often structures. they use it in a favors certain types of different way, films. focusing on social How digital platforms enable women's cinema and political issues Even some directors who and giving a voice to to exist as a form of make films with feminist women who might "minor cinema," resisting themes don't want to be not otherwise have mainstream cinematic labeled as part of one. norms. "women's cinema."  “Frequency and quality of usage, the different ways It also emphasizes the role of and purposes in which the digital platforms in promoting technology is employed, women's cinema. These digital and the ways women’s platforms can be a powerful tool usage of technology is for women filmmakers to connect represented”. — Cindy with audiences, share their work, Royal, in her article and challenge traditional gender “Framing the Internet: a roles in the film industry. Comparison of Gendered What Is It All About ? Spaces,” Each platform's approach to “women’s cinema” can This adds that specific behaviors differ widely. Some are This section delves into how digital platforms and habits further widen the more radical and have created spaces for feminist discourse on film to thrive outside of academic and gender gap online rooted in feminist specialized circuits. It explores how the While the Internet is often seen Both Hedge and Royal point ideas, while internet and social media have become as a "democratic" space where out that the Internet is not as others may be important resources for the production, everyone has equal access, in democratic as it appears. less obviously promotion, and discussion of films directed reality, inequalities persist Social expectations, political. by women or with a strong focus on women. because most of the content restrictions, and even the available is produced by people ways in which technology is Inequalities from Western, developed countries, particularly North utilized and portrayed can limit its true accessibility thatpersist on the America and Europe. This reflects the digital divide, where people across genders and cultures. internet, particularly from wealthier countries have concerning gender greater access to technology and the internet. Conclusion Feminist film discourse in the digital There are inequalities that persist on the sphere is a complex and evolving internet, particularly concerning gender. landscape with both exciting Even though the internet is often seen as a “Scattered Hegemonies” – a possibilities and significant global and democratic space, it is still term describing the various challenges. Digital platforms provide influenced by existing power structures and forms of control that new opportunities for feminist social norms. influence different groups filmmaking and activism. They allow in different ways. for greater diversity of voices and “Digital media and online networks still perspectives, a wider reach, and an reinforce social and gender divides, and She warns that gender and opportunity for marginalized groups sometimes even create new ones. Media sexuality are becoming to challenge dominant narratives. technologies and the way information is shared more regulated online due However, this also acknowledges the can reinforce power structures.” — Radha S. to new cultural, political, challenges posed by the digital Hedge, in her book Circuits of Visibility: Gender and economic factors that sphere. and Transnational Media Cultures shape how these topics are treated on the Internet What Is It All About ? This section delves into how digital platforms have created spaces for feminist discourse on film to thrive outside of academic and specialized circuits. It explores how the internet and social media have become important resources for the production, promotion, and discussion of films directed by While the Internet is often seen women or with a strong focus on women. as a "democratic" space where everyone has equal access, in how digital platforms feminist discourse on academic and xplores how the a have become the production, on of films directed by focus on women While the Internet is often seen as a. Both Hedge a "democratic" space where everyone Internet is not has equal access, in reality, Social expect inequalities persist because most of the ways in w the content available is produced by portrayed can people from Western, developed across gende countries, particularly North America and Europe. This reflects the digital divide, where people from wealthier countries have greater access to technology and the internet.  divide, where people from wealthier countries have greater access to Inequalities that persist on the technology and the internet. internet, particularly concerning gender There are inequalities that persist on the internet, particularly concerning gender. Even though the internet is often seen as a global and democratic space, it is still “Scattered Hegemonies” – a influenced by existing power structures term describing the various and social norms. forms of control that influence different groups in different ways. “Digital media and online networks still reinforce social and gender divides, and sometimes even She warns that gender and create new ones. Media technologies and the way sexuality are becoming information is shared can reinforce power more regulated online due structures.” — Radha S. Hedge, in her book to new cultural, political, Circuits of Visibility: Gender and Transnational and economic factors that Media Cultures shape how these topics are treated on the Internet  “Frequency and quality of usage, the different ways and purposes in which the technology is employed, and the ways women’s usage of technology is represented”. — Cindy Royal, in her article “Framing the Internet: a Comparison of Gendered Spaces,” This adds that specific behaviors and habits further widen the gender gap online  Both Hedge and Royal point out that the Internet is not as democratic as it appears. Social expectations, restrictions, and even the ways in which technology is utilized and portrayed can limit its true accessibility across genders and cultures. f It also emphasizes the role of digital s and platforms in promoting women's cinema. These digital platforms can and be a powerful tool for women of filmmakers to connect with d”. — audiences, share their work, and challenge traditional gender roles in the film industry. Each platform's approach aviors to “women’s cinema” can e differ widely. Some are more radical and rooted in feminist ideas, while others may be less obviously political. Conclusion Feminist film discourse in the digital sphere is a complex and evolving landscape with both exciting possibilities and significant challenges. Digital platforms provide new opportunities for feminist filmmaking and activism. They allow for greater diversity of voices and perspectives, a wider reach, and an opportunity for marginalized groups to challenge dominant narratives. However, this also acknowledges the challenges posed by the digital sphere.  “Frequency and quality of It also emphasizes the role of usage, the different ways digital platforms in promoting and purposes in which the women's cinema. These digital technology is employed, platforms can be a powerful tool and the ways women’s for women filmmakers to usage of technology is connect with audiences, share represented”. — Cindy their work, and challenge Royal, in her article traditional gender roles in the “Framing the Internet: a film industry. What Is It All About ? Comparison of Gendered Spaces,” Each platform's approach to “women’s cinema” can This section delves into how digital This adds that specific behaviors differ widely. Some are platforms have created spaces for feminist and habits further widen the more radical and discourse on film to thrive outside of gender gap online rooted in feminist academic and specialized circuits. It While the Internet is often seen ideas, while explores how the internet and social media as a "democratic" space where others may be Both Hedge and Royal point out have become important resources for the everyone has equal access, in less obviously that the Internet is not as production, promotion, and discussion of reality, inequalities persist political. democratic as it appears. Social films directed by women or with a strong because most of the content expectations, restrictions, and focus on women. available is produced by people even the ways in which technology Inequalities that from Western, developed countries, particularly North is utilized and portrayed can limit its true accessibility across persist on the internet, America and Europe. This reflects the digital divide, where genders and cultures. particularly people from wealthier countries concerning gender have greater access to technology and the internet. Conclusion Feminist film discourse in the digital There are inequalities that persist on the sphere is a complex and evolving internet, particularly concerning gender. “Scattered Hegemonies” – a landscape with both exciting Even though the internet is often seen as a term describing the various possibilities and significant challenges. global and democratic space, it is still forms of control that Digital platforms provide new influenced by existing power structures influence different groups opportunities for feminist filmmaking and social norms. in different ways. and activism. They allow for greater “Digital media and online networks still diversity of voices and perspectives, a reinforce social and gender divides, and She warns that gender and wider reach, and an opportunity for sometimes even create new ones. Media sexuality are becoming marginalized groups to challenge technologies and the way information is more regulated online due dominant narratives. However, this shared can reinforce power structures.” — to new cultural, political, also acknowledges the challenges Radha S. Hedge, in her book Circuits of and economic factors that posed by the digital sphere. Visibility: Gender and Transnational Media shape how these topics are Cultures treated on the Internet  Conclusion This section examines the status of digital practices The scope of Chapter 1 as resistant forms to introduces the theoretical global corporate media Some individuals and framework, outlines the and neo-liberal economy. groups involved in study’s structure, and justifies evaluated platforms reject the case study selection. feminism. It explains key terms like Many are integrated into ‘women’s cinema’ and situates mainstream film systems feminist approaches within the digital age. It explores radical action in web-based projects/discourses by or about women in film. Baer's Aims to enhance visibility for women's filmic Perspective expression online. In conclusion, it Micro-rebellion is a emphasizes the response to the lack importance of recognizing of alternatives to and supporting women's global capitalism. voices in film. Described as “process-based political actions.”  This section examines the status of digital practices as resistant forms to global corporate media and neo-liberal economy. Some individuals and groups involved  This section examines the status of digital practices as resistant forms to global corporate media and neo-liberal economy. Some individuals and groups involved in evaluated platforms reject feminism. Many are integrated into mainstream film systems  in web-ba projects/ about wo Baer's Aims to e Perspective for wome Micro-rebellion is a expressio response to the lack of alternatives to In conclu global capitalism. emphasiz importan Described as and supp “process-based voices in political actions.”  It explores radical action in web-based projects/discourses by or about women in film. Baer's Perspective Aims to enhance visibility for women's filmic Micro-rebellion is a expression online. response to the lack of alternatives to In conclusion, it global capitalism. emphasizes the importance of recognizing Described as and supporting women's “process-based voices in film. political actions.” Conclusion The scope of Chapter 1 introduces the theoretical framework, outlines the study’s structure, and justifies the case study selection. It explains key terms like ‘women’s cinema’ and situates feminist approaches within the digital age.  Conclusion This section examines the status of digital The scope of Chapter 1 practices as resistant introduces the theoretical forms to global corporate Some individuals and framework, outlines the media and neo-liberal groups involved in study’s structure, and justifies economy. evaluated platforms reject the case study selection. feminism. It explains key terms like Many are integrated into ‘women’s cinema’ and situates mainstream film systems feminist approaches within the digital age. It explores radical action in web-based projects/discourses by or about women in film. Baer's Perspective Aims to enhance visibility for women's filmic expression online. Micro-rebellion is a response to the lack In conclusion, it of alternatives to emphasizes the global capitalism. importance of recognizing and supporting women's Described as voices in film. “process-based political actions.”  NEW TECHNOLOGIES OF GENDER: FEMINIST FILM WRITTEN BY: The book explores the relationship between feminist Rosanna Maule film discourse and digital platforms. 1 ST "In Digital Platforms and Feminist Film C HA P T E R I N Discourse" In this chapter, Rosanna K ! examines how digital THE B O O advancements have reshaped gender representation and feminist discourse in cinema. A Dancer's Disruption of Conservative Flamenco Culture a documentary Flamenco Dance is an artistic An expressive expression combining song outlet for (cante), dance (baile), and portraying musicianship(toque), rooted themes of love, fundamentally in Andalusia. struggle, and beauty that align with traditional views of femininity in Spanish culture. A documentary film made by Ana Gonzalez and Frederick Bernas from The New Yorker following Manuel Liñán's journey of being a queer flamenco performer and choreographer, who was currently preparing for a big show in the Andalusian City of Granada. The documentary shows how despite his bullfighter father not allowing him, but through her mother’s support, he continued to pursue his passion to perform flamenco, in big dresses and high-heeled sandals. The documentary film shows a revolutionary story of gender and culture. Despite the flamenco culture being known for femininity, Liñan challenged that by being a queer performer of it. Liñán not only disrupts conservative expectations but also cultivates a new seedling of diversity in gender By bringing his story to the stage, Manuel expression within the art form, significantly contributes to the visibility encouraging broader acceptance and of queer experiences within flamenco. representation. His performances foster a culture of inclusivity, encouraging a broader acceptance of diverse identities in the arts. Through his work, he not only paves the way for future artists but also nurtures a more representative and compassionate society.  The Author, thus, argues that arts should change with society because if you don’t adapt, you become irrelevant. However, art cannot change itself, it requires the artists to do so, just like how Liñan does it.