Black Metal, Trauma, Subjectivity and Sound: Screaming the Abyss weaves together trauma, black metal performance and disability into a story of both pain and freedom. Drawing on her years as a black metal guitarist, Jasmine Hazel Shadrack uses autoethnography to explore her own experiences of
gender-based violence, misogyny, and the healing power of performance.
This profoundly personal book offers a detailed explanation of autoethnography, followed by a careful exposition of the relationship between metal and gender, considering - among other things - how women are engaged with by metal music culture. After examining the various waves of black metal and
how this has impacted black metal theory, the book moves on to consider female performers and performance as catharsis, including a discussion of the author's work as guitarist and vocalist with the black metal band Denigrata and her alter-ego, the 'antlered priestess' Denigrata Herself. The book
concludes with some thoughts on acquired disability, freedom and peace.
The book includes a foreword from eminent gender researcher Rosemary Lucy Hill, a guest section from metal scholar Amanda DiGioia, an epilogue from Rebecca Lamont-Jiggens (a legal pracademic specialising in disability), suggestions of sources of help for those in abusive relationships and further
reading for those wishing to learn more about black metal theory.
Discourses on Gender and Sexual Inequality: The Legacy of Sandra L. Bem focuses
on emerging discourses on gender, gender roles, and gender schemas. This
collection of essays aims to honor the legacy of Sandra Lipsitz Bem and,
particularly, her trail-blazing text, The Lenses of Gender: Transforming the
Debate on Sexual Inequality. Long before the terms transgender and cisgender
were introduced into mainstream, academic, and activist discourses on
gender, Bem was busy interrogating the use of gender as an essential organizing
principle in society.Chapters in this volume aim to draw attention to
the significance of Bem’s research for current debates on gender and gender
roles in the social sciences, questioning the ways in which the institution of
gender has been, and remains, deeply contested. Contributors examine lived
experiences of individuals influenced by institutional constructions of gender
and examine practical aspects of gender from the perspectives of social policy.
Contemporary popular media has been marked by its startling ability to morph into a wide variety of formats, fed by the ongoing revolution in digital technology. Despite these significant changes, the horror genre has retained its attraction for audiences, and the representation of gender has been
crucial to that appeal.
Gender and Contemporary Horror in Comic, Games and Transmedia examines the impact of media convergence on the horror genre, focusing on comic books and graphic novels, video games, audio broadcasts, and transmedia adaptations, as well as considering the increasingly proactive role of audiences
in making media themselves. A wide range of scholars consider the effect of this new hybridity on established debates regarding the role of gender in the horror genre, offering vital new interpretations of identity and representation.
This book is an illuminating, exciting read for academics and students interested in the effect of changing media, and an evolving cultural landscape, on the established debates surrounding gender in the horror genre. The responses of the authors reflect both the possible limitations and the
groundbreaking possibilities of this new era in horror.
The horror genre will always remain current because it reflects our anxieties, shining a light onto our worst fears whilst creating worlds defined by darkness. Horror as a genre has always engaged with era-specific societal mores and moral panics, often about isolation or abandonment, changing
family values and the role of women. It is often specifically about how gender is constructed in everyday life. Women are commonly defined in horror by their passivity, or monstrosity/sexuality or victimhood - or a mix of the three. At the same time women in horror are forced into psychological and
physical torture ending in violent showdowns in which they emerge damaged but triumphant.
Bringing together research from a wide range of established and emerging scholars this edited collection provides an insight into how modern horror films portray femininities, sexualities, masculinities, ageing, and other current issues, exploring the use of vampires, zombies, werewolves and ghosts
in films made internationally. This volume, one of three by the same editorial team examining the horror genre, focuses on gender and contemporary horror in film, asking questions about how and if representations of gender in horror have changed. In these readings and re-readings, the authors
examine developments in films about vampires, zombies, werewolves and ghosts, in films made internationally.
The successful return of horror to our television screens in the post-millennial years, and across a multi-media range of platforms, demonstrates that this previously moribund genre is once again vibrant, challenging and long-lasting. The traditional TV audience of the past would have watched very
few horror TV shows, because not many were made. But that has changed. Programme makers have tapped into their public's insatiable need - in these days of terrorism, violence and mayhem - to provide programmes that have high production values, engaging storylines, and plenty of frights and gore.
Horror TV offers a safety-valve for its audience, one that enables them to enter into it from the safety of their armchairs. The era of instant access, streaming, downloading and binge-watching whole seasons over a weekend, where fandom has blossomed into a cultural force, clearly shows horror as a
vital part of today's TV scheduling.
This edited collection investigates the rising popularity of horror-television through deconstructing the gender roles within them via series of case studies including such programmes as Hannibal, American Horror Story, The Walking Dead, Penny Dreadful, Supernatural, The Exorcist and Bates Motel. By
using a series of case studies and employing theoretical modes of close analysis, each chapter demonstrates how and why these TV shows are important in reflecting the changing gender roles within modern society.
Volume 22 explores the complex relationships between gender and food in a variety of locations and time periods using a range of research methods. Authors show that gender inequality and men’s dominance are implicit or explicit, and that in times of both stability and change, the burden of
many if not most aspects of food production and provisioning falls upon women and is an integral part of the care work they perform. Food is shown to be related to societal structures of power, resources and labor markets, as well as households, bodies and emotions. Health, well-being and
sustainability emerge as major tropes in the economic and geographic north and south from the arctic to the equator and places between. Western cultural trends regarding specialized diets as they relate to health and illness are examined from a gender lens as is children’s nutrition
worldwide. Gender inequality as it affects the struggle for access to land, the affordability of food, and its nutritional value is identified as a major social policy issue.
Media images shape and are shaped by society. They reflect the ways in which the social order changes and stays the same. The contributors to Gender and the Media: Women’s Places consider a variety of media to explore the impact of what is there, as well as what is missing. Their focus is on
women. Networks of the cyberbullying of women of color are rendered graphically and the agency claimed by women in Western Sahara refugee camps is shown in photos. How college women and men respond to the masculinity reflected in hip-hop lyrics and videos, and what it feels like to be a woman in a
comic book store are conveyed in excerpts from interviews. Contributors detail how publications discuss rape in India and trafficking in Moldova and ponder the absence of the topic of anorexia in U.S. cinema. Social change is reflected in how trade publications discuss the increasing number of women
in the funeral industry. The relation of the local to the global and female invisibility is considered in an analysis of Portuguese punk fanzines. An examination of advice books for American tween girls documents not only the subject matter, but also the racial, ethnic and religious homogeneity and
heteronormativity assumed in the text and illustrations. Finally, a comparison of the critical response to identical music recorded by female and male artists provides the opportunity to see the role gender plays in criticism of aesthetic materials.
Since 2013, company boards in India have been legally required to have at least one female director. However, gender diversity in boardrooms across India remains below the global average, and a number of the women who do serve on boards were appointed largely because they are related to a founder or
owner of a company. Since India is recognised as one of the
world’s fastest growing emerging economies, it is important to study in detail why gender diversity at board level remains so low. Is this a result of workplace bias, a pipeline issue, or due to other reasons?
Gender Equity in the Boardroom: The Case of India offers just this sorely needed study. Drawing upon interviews with board members and executives of both public and private companies, as well as with aspiring female leaders who are currently at mid-management level, and supplementing this with the
authors’ own survey of the make-up of 305 Fortune India 500 companies, this book offers incisive insights into questions about board-level gender representation across industries.
Offering both rigorous research and analysis as well as suggestions for practical policy changes, this book is essential reading for HRM and leadership scholars, and is also of keen interest to policymakers throughout the world.
Many researchers in recent years have begun to reflect on their gender identity and how this impacts on the research process and discuss how this helps build rapport with participants and creates successful or unsuccessful pieces of qualitative research. However, how does this intersect with other
forms of identity, such as class, ethnicity, disability, age, sexuality? In this volume contributors explore these issues by reflecting on their own studies and research careers and address how important or unimportant gender has been in building research relationships. While the gender identity of
the respondent/researcher relationship is undoubtedly important, what must also be acknowledged are the attributes which create a good fieldworker and competent social science researchers capable of understanding and engaging in different social situations and thought interaction with different
For over four decades, scholars have been investigating male dominance - both symbolically and numerically -within popular music. The heavier genres of popular music, metal music in particular, have been male dominated spaces, which are difficult to navigate for women participating as fans,
musicians, or both. Studies on gender inequality in metal music have convincingly demonstrated how gender dynamics shape the reception of metal music and metal scenes all over the globe. Yet, they shed relatively little light on the extent of and reasons for metal music's male domination from a
production perspective. This book fills this gap, offering is a systematic and large-scale overview of gender inequality in metal music production. In other words: how many women - compared to men - are participating in metal bands and what are the causes for the differences in participation?