User:Guerillaglue/sandbox

Cited Sentence from Women in the Military
In the Book of Judges, the prophet Deborah accompanies the general Barak into battle against Jabin, the king of Canaan. The general of Jabin's army, Sisera, is later killed by another woman, Jael, who uses a hammer to drive a tent peg into his skull.

The Bataan Death March of Whimsy Case File #1: Elizabethtown
This article was written by film critic Nathan Rabin for the AV Club website. It is an analysis of a film trope that he has dubbed the "manic pixie dream girl." Rabin coined this term in his critique of the film Elizabethtown, and he based his definition of the MPDG on his own experiences as a film critic with contemporary movies. Rabin believes that the manic pixie dream girl trope is a one-dimensional perception of women that "sensitive" male writers use as a crutch in their writing. This article is useful in describing exactly what the manic pixie dream girl trope is, because it is the original description of the trope, and it is also a reliable source, seeing as it was written by the originator of the term.

MLA: Rabin, Nathan. “The Bataan Death March of Whimsy Case File #1: Elizabethtown.” Film, Film, 23 Aug. 2017, film.avclub.com/the-bataan-death-march-of-whimsy-case-file-1-elizabet-1798210595.

APA: Rabin, N. (2017, August 23). The Bataan Death March of Whimsy Case File #1: Elizabethtown. Retrieved from https://film.avclub.com/the-bataan-death-march-of-whimsy-case-file-1-elizabet-1798210595

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Referred pain: privileging male emotions in narrative instances of female physical suffering
This article was written by Swedish professor Berit Åström. The article is based on her scholarly analysis of films and literature ranging from ancient texts to modern films. Åström argues that the prioritization of men's emotional over women's physical suffering is representative of the way in which men view women as objects that only hold importance when considered in context of their relationships to men. This article is useful in my work because it is an extremely important example of the ways in which female characters are used as flimsy devices to add depth to the personalities and development of male characters.

MLA: Åström, Berit. “Referred Pain: Privileging Male Emotions in Narrative Instances of Female Physical Suffering.” Journal of Gender Studies, vol. 20, no. 2, June 2011, pp. 125–137. EBSCOhost, doi:10.1080/09589236.2011.565193.

APA: Åström, B. (2011). Referred pain: privileging male emotions in narrative instances of female physical suffering. Journal of Gender Studies, 20(2), 125–137. https://doi.org/10.1080/09589236.2011.565193

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The Abuse Litmus Test: A Classroom Tool to Assess Power and Control in On-Screen Relationships
This article from an issue of the Interdisciplinary Journal of Applied Family Studies describes a learning experiment performed by Amy Bonomi, Asia Eaton, Julianna Nemeth, and Tameka Gillum. This experiment focuses on the perceptions regarding relationship abuse that college students have. The students are provided with a list of elements central to abusive relationships, and are then shown a popular film that includes these elements and asked to apply elements of abusive relationships to what they see onscreen. This process was intended to give the college students perspective on sexual assault and abuse on their campus. It was useful to my work because I was able to use it to both provide examples of films that contain elements of sexual abuse, as well as academic discussion of the ways in which American people do not always perceive sexual abuse when it is portrayed in our media.

MLA: Bonomi, Amy E., et al. “The Abuse Litmus Test: A Classroom Tool to Assess Power and Control in On-Screen Relationships.” Family Relations, vol. 66, no. 1, Feb. 2017, pp. 154–165. EBSCOhost, doi:10.1111/fare.12237.

APA: Bonomi, A. E., Eaton, A. A., Nemeth, J. M., & Gillum, T. L. (2017). The Abuse Litmus Test: A Classroom Tool to Assess Power and Control in On-Screen Relationships. Family Relations, 66(1), 154–165. https://doi.org/10.1111/fare.12237

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The Dark Side of Heterosexual Romance: Endorsement of Romantic Beliefs Relates to Intimate Partner Violence
This was a study performed by Leanna Papp, Miriam Liss, Mindy Erchull, Hester Godfrey, and Lauren Waaland-Kreutzer. The study was a survey of 275 heterosexual women, who were asked about their endorsements of controlling behavior in romantic contexts, as well as about their own experiences with intimate partner violence. The study was performed in order to establish a link between the romanticization of abuse towards women in the media and real-life abuse towards women. The study found that women who perceive controlling behavior exhibited by men as "romantic" are more likely to be sexually abused and to experience intimate partner violence than women who do not share these perceptions. This article is an important part of my contributions to Wikipedia because it establishes the consequences of media conflation between romance and abuse.

MLA: Papp, Leanna, et al. “The Dark Side of Heterosexual Romance: Endorsement of Romantic Beliefs Relates to Intimate Partner Violence.” Sex Roles, vol. 76, no. 1–2, Jan. 2017, pp. 99–109. EBSCOhost, doi:10.1007/s11199-016-0668-0.

APA: Papp, L., Liss, M., Erchull, M., Godfrey, H., & Waaland-Kreutzer, L. (2017). The Dark Side of Heterosexual Romance: Endorsement of Romantic Beliefs Relates to Intimate Partner Violence. Sex Roles, 76(1–2), 99–109. https://doi.org/10.1007/s11199-016-0668-0

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The Filmic Conception OF The Black Female
This article was written by Norma Manatu-Rupert, who is assistant professor of speech communication and media studies at John Jay College of Criminal Justice. It is an examination of films throughout the 70's, 80's, and 90's which feature black women in prominent roles, as well as a discussion of how these women are represented, particularly in the context of female sexuality. This article was written not only as an informative analysis of black female film representation, but also as a criticism of this representation. The author believes that black women are viewed as sexual creatures, but not in an independent or liberated way, but rather in an objectified and oversexualized way. This article is important to my contributions because it provides an example of the ways in which racism and sexism intersect onscreen to form the unique representation that is ascribed to black women.

MLA: Manatu-Rupert, Norma. “The Filmic Conception of the Black Female.” Qualitative Research Reports in Communication, vol. 1, no. 3, Summer 2000, pp. 45–50. EBSCOhost, echo.louisville.edu/login?url=https://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=10545671&site=ehost-live

APA: Manatu-Rupert, N. (2000). The Filmic Conception of the Black Female. Qualitative Research Reports in Communication, 1(3), 45–50. Retrieved from http://echo.louisville.edu/login?url=https://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=10545671&site=ehost-live

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Michelle Obama: Exploring the Narrative
This article was written by Marian Meyers and Carmen Goman of the Department of Communication at Georgia State University. It is a detailed history of the media representation of First Lady Michelle Obama, and is chronicles how she, as a black female, has been perceived by the American People due to her status as a black female. When Barack Obama first began campaigning for president, Michelle was the subject of much vicious controversy. American media portrayed her as a stereotypical "angry black woman," who was violent, selfish, and overly aggressive. None of this was true of Michelle Obama, and so this article serves to inform of the ways in which black women as perceived by American Media and its viewers. This article is useful to me because it provides an example of more ways in which black women are misrepresented in American Media.

MLA: Meyers, Marian, and Carmen Goman. “Michelle Obama: Exploring the Narrative.” Howard Journal of Communications, vol. 28, no. 1, Jan. 2017, pp. 20–35. EBSCOhost, doi:10.1080/10646175.2016.1235520.

APA: Meyers, M., & Goman, C. (2017). Michelle Obama: Exploring the Narrative. Howard Journal of Communications, 28(1), 20–35. https://doi.org/10.1080/10646175.2016.1235520

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Media Literacy Art Education: Deconstructing Lesbian and Gay Stereotypes in the Media
This article was written by author Shen Kuan Chung as a in depth examination of stereotypes of LGBT+ people in popular media. It describes the kinds of stereotypes that queer women are, and have historically been, assigned, as well as the impact that those stereotypes has on young people, particularly those young people who may be LGBT+. This article was written to deconstruct and critique queer stereotypes in media, and it is useful to my work because it describes the intersectionality between women and LGBT+ people.

MLA: Sheng Kuan Chung. “Media Literacy Art Education: Deconstructing Lesbian and Gay Stereotypes in the Media.” International Journal of Art & Design Education, vol. 26, no. 1, Feb. 2007, pp. 98–107. EBSCOhost, doi:10.1111/j.1476-8070.2007.00514.x.

APA: Sheng Kuan Chung. (2007). Media Literacy Art Education: Deconstructing Lesbian and Gay Stereotypes in the Media. International Journal of Art & Design Education, 26(1), 98–107. https://doi.org/10.1111/j.1476-8070.2007.00514.x

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Seduced and abandoned: Lesbian vampires on screen 1968–74
This article by Griffith University Professor David Baker is an in-depth analysis of the "lesbian vampire" horror movie fad of the 60's and 70's and its links to the women's liberation movement that was occurring at the same time. Baker is of the opinion that the ties between "independent woman," "lesbian seductress," and "blood-sucking monster" were revealing of how directors at the time viewed both independent women and women who were same-sex attracted. The article provides interesting insight into the "darkness" that males saw in the women's lib movement, as well as in the ways that these males viewed women who were attracted to other women: dangerous, sexual, and altogether uncaring and monstrous. This article will be useful to my work because it provides an excellent example of how film and the representations of women in film are based heavily on the opinions that male directors had towards women at the time.

MLA: Baker, David. “Seduced and Abandoned: Lesbian Vampires on Screen 1968–74.” Continuum: Journal of Media & Cultural Studies, vol. 26, no. 4, Aug. 2012, pp. 553–563. EBSCOhost, doi:10.1080/10304312.2012.698035.

APA: Baker, D. (2012). Seduced and abandoned: Lesbian vampires on screen 1968–74. Continuum: Journal of Media & Cultural Studies, 26(4), 553–563. https://doi.org/10.1080/10304312.2012.698035

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Female characters as plot devices for male characters
In media featuring a male protagonist, women’s pain, suffering, or even death are often used as plot devices to further the male protagonist’s narrative arc. One way in which this is exhibited is in the “referred pain” plot device- Where a woman undergoes a traumatic event, often (but not always) of a sexual nature, but the character whose grief and anger at the trauma is shown and explored in depth is the male protagonist. This trope is featured in such films as Mission: Impossible 2 (2000), Moulin Rouge (2001), as well as in the Shakespeare play Titus Andronicus and books like Oroonoko. Another common plot device is the “disposable woman” trope, which involves a woman who dies, putting the male protagonist through emotional development or inspiring him to embark on a revenge quest. The disposable woman trope in present in many films, including Braveheart (1995), The Matrix Revolutions (2003), The Bourne Supremacy (2004), The Dark Knight (2008), The Amazing Spider-Man 2 (2014), Deadpool 2 (2018), and Avengers: Infinity War (2018). The prevalence of these tropes in media is an example of how women’s experiences and stories are not considered important; the only important thing about these women would appear to be their impact on men.

The Manic Pixie Dream Girl
The term “Manic Pixie Dream Girl” was coined in 2007 by film critic Nathan Rabin to describe a female character who exists solely “to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures." The Manic Pixie Dream Girl improves the life of the male protagonist and makes him a happier and better person, but she has no apparent character arc or complex story; she is simply a plot device.

Female characters as plot devices for male characters
In media featuring a male protagonist, women’s pain, suffering, or even death are often used as plot devices to further the male protagonist’s narrative arc. One way in which this is exhibited is in the “referred pain” plot device- Where a woman undergoes a traumatic event, often (but not always) of a sexual nature, but the character whose grief and anger at the trauma is shown and explored in depth is the male protagonist. This trope is featured in such films as Mission: Impossible 2 (2000), Moulin Rouge (2001), as well as in the Shakespeare play Titus Andronicus and books like Oroonoko. Another common plot device is the “disposable woman” trope, which involves a woman who dies, putting the male protagonist through emotional development or inspiring him to embark on a revenge quest. The disposable woman trope in present in many films, including Braveheart (1995), The Matrix Revolutions (2003), The Bourne Supremacy (2004), The Dark Knight (2008), The Amazing Spider-Man 2 (2014), Deadpool 2 (2018), and Avengers: Infinity War (2018). The prevalence of these tropes in media is an example of how women’s experiences and stories are not considered important; the only important thing about these women would appear to be their impact on men.

The Manic Pixie Dream Girl
The term “Manic Pixie Dream Girl” was coined in 2007 by film critic Nathan Rabin to describe a female character who exists solely “to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures." The Manic Pixie Dream Girl improves the life of the male protagonist and makes him a happier and better person, but she has no apparent character arc or complex story; she is simply a plot device. A list of notable instances of the Manic Pixie Dream Girl trope can be found on the article for Manic Pixie Dream Girl.

Referred Pain
In media featuring a male protagonist, women’s pain, suffering, or even death are often used as plot devices to further the male protagonist’s narrative arc. This is known as the “referred pain” plot device. It involves a situation wherien a woman undergoes a traumatic event, often (but not always) of a sexual nature, but her pain is referred to a male character. This male character’s grief and anger due to the trauma experienced by the female character are explored in depth. The female character’s emotional or physical response is only addressed briefly or cursorily. This trope is featured in such films as Mission: Impossible 2 (2000), Moulin Rouge (2001), as well as in the Shakespeare play Titus Andronicus and books like Oroonoko.

Disposable Woman
The Disposable Woman trope refers to a trope in which a woman is included in a story for the sole purpose of dying, thus putting the male protagonist through emotional development or inspiring him to embark on a revenge quest. The woman who dies in these situations is referred to as "disposable" because she does not serve a purpose beyond her death. The disposable woman trope in present in many films, including Braveheart (1995), The Matrix Revolutions (2003), The Bourne Supremacy (2004), The Dark Knight (2008), The Amazing Spider-Man 2 (2014), Deadpool 2 (2018), and Avengers: Infinity War (2018).

The Manic Pixie Dream Girl
The term “Manic Pixie Dream Girl” was coined in 2007 by film critic Nathan Rabin to describe a female character who exists solely “to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures." The Manic Pixie Dream Girl improves the life of the male protagonist and makes him a happier and better person, but she has no apparent character arc or complex story; she is simply a plot device. A list of notable instances of the Manic Pixie Dream Girl trope can be found on the article for Manic Pixie Dream Girl.