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Female comics say that the empowerment movement has been met with pushback, retaliation and mockery from male counterparts: “If you’re a woman who’s been harassed, if you just talk about what happened, people perceive you as being some ‘cancel culture’ advocate.”

Après On peut plus rien dire, vendu à près de 7 000 exemplaires, Judith Lussier s’attaque à la culture de l’annulation avec son nouveau livre Annulé(e). Un brillant essai d’analyse qui, grâce à de nombreux exemples évocateurs et contemporains, fait le point sur un sujet brûlant d’actualité.« Alors que les réseaux sociaux ont permis à plus d’individus de prendre la parole et à différentes réalités d’être enfin nommées, il semble que le terrain discursif soit de plus en plus miné. Nous n’avons jamais pu autant nous exprimer librement, et pourtant, nous avons le sentiment que communiquer ses idées n’a jamais été aussi complexe et risqué. »C’est avec ce point de départ tout en nuances que la journaliste et essayiste Judith Lussier tente de comprendre la cancel culture. Cet essai examine ce phénomène complexe aux contours flous qui sème parfois la panique et alimente de nombreuses chroniques, sans faire l’économie d’une réflexion sur les dynamiques de pouvoir qui dictent sa trajectoire.

This article examines sexual and gendered harassment among professional female editorial photographers, whose experiences have largely been under-researched. It draws on semi-structured interviews conducted between 2017–2019 with 17 female professional editorial photographers, aged 23–82, who work in a variety of beats. Sixteen of 17 interviewees encountered sexual harassment, with gendered harassment the most common. Harassers included professors, other photographers, colleagues, salespeople, subjects, and the general public, whom photographers encountered at school, work, while networking, and when using and buying gear. Largely, participants addressed the sexual and gendered harassment on an individual level, rather than reporting it to editors or other authorities. These findings add qualitative nuance to quantitative research that suggests physical risks and economic precarity may drive women from the profession.

This article interrogates the localized experiences of present-day workers who identify as women in Australian postproduction sectors, including editing, visual effects (VFX), and animation, exploring sex­ ism and perceptions of change in the age of #MeToo. Considering the significant numbers of women working in these sectors, and the scant research into their experiences undertaken in an Australian context, the authors conducted semi-structured interviews with ten women in various roles and in various geographical locations in Australia. This qualitative approach to data collection aims to explore inequalities that may not be captured in industry surveys, providing fine-grain details of the ways that individuals in postproduction experience sexism. The resulting data suggests that while there is continuity between the gendered experiences of these workers and that of women in industry sectors that have already been documen­ ted, there are, however, new observations about changes in work­ place behavior in the sector, brought about by growing public awareness of industry discrimination and harassment and of shifts in Australian industry policy. The authors isolated recurring themes within women’s gendered experiences in relation to how they per­ ceived the impact of the gender-equity initiatives on the attitudes of their co-workers, their workplace opportunities, and their experi­ ences as workers.

‘Postfeminist’ society has created the impression that contemporary discourses on gender representation, particularly in digital media platforms, are pointless. This misconception is coupled with online aggression by men’s rights activists who position feminist debates as sources of male oppression. However, media practices and consumption processes continue to maintain the supremacy of the male gender identity, which strengthens the process of transforming social media into a component of the “manosphere.” The failure of the fourth wave of feminism in utilising the Internet for mobilising activism for the ontological equality of all genders has succeeded by increasing gender-based violence against women. Indian women in comedy negotiate with these systemic inequalities while navigating male dominance in the comedy industry. The paper is an attempt to examine the structures of gender inequality and bias that affect the participation and advancement of women in the comedy circuit. Its focus remains on the formulation of a rape culture on social media and its subsequent consequences in the larger social context of the development of a patriarchal culture. 

On 5 October 2017, The New York Times published an article in which Harvey Weinstein was accused of sexual harassment by five women. The scandal grew to enormous proportions as more allegations against him followed. This led to the #MeToo and TIME'S UP movements, initiatives to fight sexual harassment in the workplace. Given that media discourse can have an impact on the knowledge, beliefs, attitudes, and behaviours of the public regarding these phenomena (van Dijk 1989), this study adopts a Critical Discourse Studies (CDS) perspective and explores how power and gender inequality are sustained, (re)shaped and/or challenged by focusing on the reporting of the Harvey Weinstein case which - to the author's best knowledge - has not been analysed before in the field of linguistics. It draws from the systemic functional linguistics and the discourse-historical approach and it examines the way the perpetrator, the accusers and the phenomenon of sexual harassment were discursively constructed in five key articles published in the New York Times. The findings differ in a major way from existing research on sexual violence against women in that 1) the perpetrator, Weinstein, was depicted with clear ascription of agency, 2) women victims' voices and feelings were foregrounded, 3) the link between sexual harassment and the social context in which it occurs was discussed.

In 2019 the video games industry was rocked by a slew of high-profile sexual harassment and assault allegations that some called the #MeToo movement of the games world, but to many these revelations came as no surprise. From the 2004 EA Spouse controversy to the 2014 #Gamergate harassment campaign the games industry has long been known for harboring an at times toxic atmosphere of exploitation and discrimination. This project looks at a handful of Women-In-Games organizations that set out to change the experience of women in the industry by helping newcomers to gain high tech skills and to supporting early career professionals through mentorship and community building. Along the way, it combines the study of these Women-In-Games organizations with a years-long collaboration bringing video games to the US' oldest feminist bookstore, Charis Books & More in Atlanta, GA. Through examining the work and values of two types of organizations devoted to women's equality, one a historic feminist movement-building space and the others, contemporary interventions into the professional games and tech industry, this study asks the questions "What can the Women-In-Games movement learn from the rich history of feminist organizing at spaces like Charis?" "Can games play a part in feminist movement building?" and "What does the future of feminist organizing look like in the games industry?”

C’était il y a un an. En juillet 2020, une nouvelle vague de dénonciations d’agressions et d’inconduites sexuelles a déferlé sur les réseaux sociaux au Québec. Sans être la seule industrie touchée, le milieu culturel a été secoué par plusieurs scandales. Retour sur cet été de grands bouleversements.

L’ancien journaliste Michel Venne a été reconnu coupable mercredi d’agression et exploitation sexuelle sur Léa Clermont-Dion alors qu’elle avait 17 ans. La poursuite espère que ce verdict encouragera d’autres victimes à porter plainte.

Women outnumber men in graduate and undergraduate programs in photojournalism and work as photo editors at a number of high-profile publications. But in the field of professional editorial photography, they lag men in pay, legitimacy, and status. Using Bourdieu’s field theory, this paper explores how gender shapes the way women experience, compete in, and negotiate the field, specifically regarding assignments, salary, sexual harassment, and tactics for achieving access to stories. Findings suggest that women use their gender as a competitive advantage however they can, but that negative capital attached to femaleness and femininity persists. The findings are based on semi-structured interviews conducted between 2017 and 2019 with 17 female professional editorial photographers, aged 23–82, who work in a variety of beats.

Ce 21 avril, Mediapart a publié une enquête fouillée relatant des accusations de harcèlement sexuel envers Stéphane Marsan, patron d'une grande maison d'édition. Mais contrairement à d'autres #MeToo, celui-ci n'a pas trouvé beaucoup d'écho...

How does music play a role in normalising men’s sexual violence towards women? Using mainstream rock and metal music as an illustrative case study, we offer a nuanced account of the ways in which men’s sexual violence is normalised. Using a definition of sexual violence drawn from Liz Kelly’s notion of a continuum, which reframes sexual violence as the loss of women’s ability to control sexual experiences, we explore the ways in which sexual violence is a prevalent lyrical and audio-visual component of rock and metal songs. We show that a pernicious theme of rock and metal over the last 25 years is the erosion of women’s ability to refuse sexual activity and to have voice and be heard. We argue that this erosion of women’s consent takes place through the representational use of emotional abuse, controlling/coercive behaviour, and through the objectification of women. The erasure of consent presented through these methods becomes a key means of establishing sexual control. Through manipulation, the confusion of what counts as sexual violence and how it is defined, men’s sexual violence against women is normalised.

Michael L. Siciliano draws on nearly two years of ethnographic research as a participant-observer in a Los Angeles music studio and a multichannel YouTube network to explore the contradictions of creative work. Creative Control explains why “cool” jobs help us understand how workers can participate in their own exploitation.

La rachat de la maison de disque par Béatrice Martin « a une symbolique très forte ».

The use of live popular music performance as a platform to address gendered and sexual violence and trauma within the popular music industry can be demonstrated through the analysis of Kesha’s performance of “Praying” at the 2018 Grammy Awards. Analyzing the artist’s vocal and artistic delivery, in addition to her public persona following her allegations of sexual abuse against producer Lukasz Gottwald (Dr. Luke), illustrates how live performance—building on and contrasting with social media campaigns, such as #FreeKesha and #MeToo, and studio recordings—is a uniquely effective mode of processing individual and collective trauma.

« Le protocole d’accréditation Commande un Angelot a été conçu afin de s’attaquer aux violences à caractère sexuel dans les bars et les événements festifs ou sociaux. Celui-ci vise à prévenir ces situations et à venir en aide aux personnes en difficulté. Le Collectif social, un organisme sans but lucratif qui souhaite déployer et soutenir la réalisation d’initiatives de nature communautaire ou sociale qui répondent aux besoins des communautés étudiantes des établissements d’enseignement supérieur, est derrière ce projet. »