Votre recherche

Gendered Violence at International Festivals is a groundbreaking collection that focusses on this highly important social issue for the first time. Including a diverse range of interdisciplinary studies on the issue, the book contests the widely held notion that festivals are temporal spaces free from structural sexism, inequalities or gender power dynamics. Rather, they are spaces where these concerns are enhanced and enacted more freely and where the experiential environment is used as an excuse or as an opportunity to victim blame and shame. In this emerging and under-researched area, the chapters not only present original work in terms of topics but also in theoretical and methodological approaches. All of the chapters are cross- or interdisciplinary, drawing on gender, sexualities, cultural and ethnicity studies. Studies from a range of highly regarded academics based around the world examine the subject by looking at examples from a wide range of destinations, including Spain, Argentina, Nigeria, Zimbabwe, Australia, Canada and the UK. This significant book progresses understanding and debates about gendered festival experiences and emphasises the symbolic and physical violence often associated with them. This will be of great interest to, undergraduate and postgraduate students and academics in the field of Events Studies. It will also be of use to practitioners or non-profit workers in the festival industries, including festival management organisations and planning committees.

Preventing and responding to sexual violence in nightlife settings is increasingly of global concern. The goal of this article was to identify and summarise academic studies on nightlife-related sexual violence. Specifically, to explore the nature, extent and consequences of, or associations with nightlife-related sexual violence, and interventions to prevent and respond. Of the 61 studies identified, 29 explored or reported on the nature of nightlife-related sexual violence, 22 provided information on extent, 38 on associations, and 19 on prevention and response. The majority of studies had been implemented in the past ten years (2009–2018) and in high-income countries. The review illustrates that nightlife-related sexual violence is pervasive, with lifetime prevalence reaching over 50% amongst numerous study samples. Studies suggest that a combination of factors at an individual, relationship, and community/environmental level is associated with nightlife-related sexual violence. No studies directly explored consequences, and few studies evaluated prevention and response approaches. Globally, further research is required to understand nightlife-related sexual violence, and inform the development of prevention programmes across all but particularly low and middle-income countries. Critically, interventions aimed at preventing and responding to nightlife-related sexual violence require thorough evaluation, with findings disseminated in both lay and academic literature.

In October 2017, #metoo 2.0 reinforces the gendered sexual violence in the creative sector [Marghitu, 2018. “It’s Just art: Auteur Apologism in the Post-Weinstein era”, Feminist Media Studies, 18(93): 491–494] Building on this movement, on 11 November that year, 2912 women “testified about the situation in the Swedish music industry”, signing an open letter condemning sexual violence [Nyheter, 2017. “2192 Women in the Swedish Music Industry Behind Appeal Against Sexism.” Dagens Nyheter, November 17. https://www.dn.se/kultur-noje/2192-women-in-the-swedish-music-industry-behind-appeal-against-sexism/]. After the Swedish initiative, on 12 December 2017, the #meNOmore hashtag was established by 1000 women who signed an open letter to the Australian music industry speaking out against similar behaviour [Whyte, 2017a. “Artists Speak Out Against Sexual Harassment in the Music Industry.” AM – ABC Radio, December 13. https://www.abc.net.au/radio/programs/am/sexual-harassment-in-the-music-industry/9253956]. Using a content analysis framework, this study examines the media framing of 26 stories about #meNOmore by the Western press from 22 November 2017 (height of the Swedish campaign) to 21 December 2017 (a week after the hashtag surfaced in Australia). Research from journalism studies and musicology highlights that sexual violence is historically engrained in the media and music industries. However, findings from our study of the first month’s coverage of the #meNOmore content analysis in 2017 reveal that media reports about women and sexual violence were framed around addressing gender inequality and systemic structural issues in the music industry. This raises the question, has the media has turned a corner when covering sexual violence in the post #metoo era?

Le tribunal a annulé l’autorisation de l’action collective des Courageuses contre l’ancien magnat de l’humour.

In August 2017, the South African advocacy group Sisters Working in Film and Television (SWIFT) launched the #ThatsNotOk campaign, which has to date produced six episodes of short films (one episode in two parts, making it seven in total) elucidating the different forms sexual harassment takes, and the different scenarios in which it occurs, in the South African film and television industries. This profile engages with SWIFT and the Public Service Announcement (PSA) films as discursive sites and texts respectively, and provides textual analyses of the PSAs in the context of digital feminism and feminist activism against sexual harassment in the film and television industries. The profile motivates that as expressions of digital feminism, the PSAs critique the pervasiveness and normalisation of sexual harassment, while failing to engage with or critique the neoliberal logic and structure of the film and television industries.

Almost nothing is known about ?unwanted sexual attention? and women?s navigation of it when in bars and nightclubs. Using focus group discussions, this article addresses that gap. It develops knowledge of the behaviors that constitute unwanted, the safety strategies used to manage them, and examines how these practices underpin gender performance in night-time spaces: environments renowned for the dilemmas they pose to women. We then use these data to develop the concept ?feisty femininity? to highlight a neglected form of femininity that overtly resists unwanted encounters. This femininity can arguably play a role in efforts aimed at ending gendered violence.

Ligne d’écoute et de référenceSans frais : 1 (855) 909-9038, poste 1Nous écrireGroupes de soutien hebdomadaires sur ZoomPour et par les personnes trans, non binaires et en questionnement.Nos services Diapositive précédente Diapositive suivante Notre mission Les buts principaux de l’ATQ sont d’apporter de l’aide et de briser l’isolement des personnes trans, non-binaires et en questionnement.   […]

Un groupe de 300 personnes s’est créé pour que les victimes témoignent et pour exprimer des revendications.

This study contributes to debates about gendered career outcomes in the creative industries using data collected in interviews with Australian screen composers. We identify how gendered inequalities are legitimated through professional norms by comparing the responses of screen composers on barriers to women’s advancement. The article explores how three distinct interpretive repertoires help reproduce the gender inequality regime present in the screen composition field. These repertoires are ‘art vs. equality’, where working towards equality can be framed as antithetical to artistic ideals; ‘gendered music’, where men and women are posited as making fundamentally different types of music; and ‘confidence’, where men are framed as innately possessing certain entrepreneurial skills vital to success in the creative industries, while women both shoulder the blame for not possessing such skills and recognize the risks inherent for them in performing confidence. By focusing on repertoires, this study describes the means by which gender-based discrimination is made overt and offered justification among screen composers, posing challenges to organizations and individuals seeking to address gender inequality in the profession.

La musicologue Vanessa Blais-Tremblay analyse l’évolution des chansons évoquant des violences à caractère sexuel.

In October 2017, the British Film Institute declared that it would commit to specific targets for gender equality and diversity in key production roles on films with support from the Film Fund. This decision by the BFI to set targets, arguably, did not come just from their own diversity and inclusion goals. Activist film-makers had previously called for targets for the Film Fund, especially for women directors. This chapter will give an accounting of the current state of gender (in)equality in the UK industry by: outlining new research that has clarified the stagnant inequality in the UK film industry; articulating the key role of a network of activist groups (that include researchers, professional and campaigning bodies, exhibitors and film-makers) to bring attention to the problem; putting pressure on the film industry and public bodies; and summarising institutional responses to that pressure since 2016, with a critical analysis of the potential and limits of the BFI’s relatively recently implemented diversity and equality targets.

Déclaration commune

«En octobre 2017, devant la vague de témoignages suscitée par le mouvement #moiaussi, j’ai senti une urgence : une fois sorties du silence, nous ne devions pas y retourner. C’est la raison pour laquelle j’ai lancé un appel. Ce livre est une chambre d’échos. Un chœur. Sans déesse ni héroïne en tête, des voix avancent. Nous faisons front commun.» Martine Delvaux «Je n'en ai jamais parlé à personne» : paroles recueillies et agencées par Martine Delvaux