Browsing by Author "Guglietti, Maria Victoria"

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    Beyond the Hashtag: Exploring the #MeToo Movement in News Media
    (2021-05-14) Jimenez, Angeli Nicole; Keller, Jessalynn Marie; Thrift, Samantha Christine; Rudd, Annie; Guglietti, Maria Victoria
    The phrase “me too” was originally coined by African American women’s rights activist Tarana Burke in 2006 to build solidarity among survivors of sexual assault (Mendes et al., 2018). However, the #MeToo movement gained traction on Twitter on October 2017 when actress Alyssa Milano used the hashtag in response to allegations of sexual assault against former Hollywood producer Harvey Weinstein (CBS, 2017). Milano compelled multitudes of Twitter users to tweet their own narratives with the hashtag, exhibiting the prevalence and magnitude of sexual assault and gender violence. This thesis problematizes the depiction of the #MeToo movement within traditional news discourse, particularly in news magazines. News media’s engagement and representation of social movements critically influence the public’s perception of these groups and contribute to its failure or success in effecting social change (Barker-Plummer, 2010; Gitlin, 1980). Through feminist discursive analysis, I examine the ways in which news media establish the narrative around #MeToo for readers. This research aims to contribute to the ongoing scholarly discussion of feminist media studies, chiefly in how traditional news attempts to impose order on feminist activism occurring in a digital setting.
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    George Platt Lynes: Visualizing Queerness Through the Fluid Male Nude
    (2023-03-15) Young, Marcus Baron; Rudd, Annie; Johnston, Dawn Elizabeth Belle; Guglietti, Maria Victoria
    This thesis proposes a reading of George Platt Lynes’ homoerotic photographs as queer countertexts – media that subvert and transgress heteronormative codes. Lynes created male nude images from the 1930s to the 1950s. His work, however, was concealed because of American laws that prevented queer identities to exist and thrive in public. A key effect of homoerotic photography is its unapologetic presentation of queerness, and Lynes adapted this form to elevate queer identity through artistic illustrations of the male body as symbols of queer desire. The central argument of this study is that Lynes’ homoerotic photographs queered hetero masculinity by making fluid presentations of the male body. By departing from traditional and “ideal” depictions of maleness that privilege hard and rigid patterns, Lynes offered a way to view the male gender through the subversion of hetero visual expectations. At the theoretical level, this study builds upon Sara Ahmed’s concept of queerness as deviation. Lynes queered hetero masculinity by showing spectators that there are more ways to portray maleness beyond the muscular physiques that were celebrated in the early 20th century. To this end, the thesis engages with a body of theoretical work that considers photography as a means to reveal queer identity, an identity that has been historically marginalised, and approaches Lynes’ nudes through the intersection of homoeroticism and queerness. At the methodological level, this thesis articulates how rejected queerness re-emerges as an acknowledged and beautiful idea through Lynes’ capturing of the male nude. Through a visual discourse analysis, this thesis examines the political, visual, and narrative dimensions of Lynes work as responses to 20th-century American homophobia.
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    Podcasting in the Christian Peripheries: Constructing Community in The Liturgists, a Post-Evangelical Podcast
    (2020-08) Johnson, Emily Catherine; Thrift, Samantha C.; Rudd, Annie; Guglietti, Maria Victoria
    This thesis studies how The Liturgists Podcast, as a community located at the intersection of new media and religion, harnesses the auditory, technical, and creative affordances of podcasting to construct an online public with warm appeal to the progressive proclivities and cultural frameworks of listeners navigating the tenets of their fundamentalist Christian faith traditions. This analysis shows that TLP fosters a sense of progressive imagined communion through its use of production decisions and discursive constructions. First, TLP draws on podcasting’s production affordances to fashion a listening experience that reproduces and occasionally adapts some of the evangelical theological and narrative traditions, frameworks, and practices familiar to its listeners, invoking the common progressive affective and nostalgic sensibilities of a physically dispersed public. Second, the hosts draw on a series of progressive religious, political, and social discourses that they position in contrast to those of the American evangelical mainstream. By privately nurturing intimate connections between individuals with similar preoccupations, then employing discourses to contest the ideologies and practices of mainstream religious systems, TLP operates according to Fraser’s (1990) notion of a counterpublic (p. 68). However, rather than distancing itself from the Christian tradition altogether, TLP constructs its progressive counterpublic primarily through the framework of a return to a new, enlightened Christianity. This novel reimagining calls alienated listeners back with compassion and acceptance to the faith traditions that betrayed them, establishing their place in a longer history of mediated listening centred around hope in the imagined communion offered through the soundwaves of technology (Schultze, 1987, p. 258).
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    Stranger's images: net art and an"other" representation
    (2004) Guglietti, Maria Victoria; Rusted, Brian
    This thesis explores the way in which the Internet facilitates artists in constructing an-other knowledge, defined as the deconstruction of a Modem and Western regime of knowledge/representation organized around the axis subject/object. Based on Fairclough's three dimensional Critical Discourse Analysis I have analyzed nine on-line artworks and five months of on-line and face to face interviews with Canadian based on­line artists. The result was a reading of these works in terms of strategies of subversion. This means that Net Art, art produced, exhibited and distributed for and on the Internet, constitutes a field where it is possible to observe Computer Mediated Communication (CMC) technology's contribution to the deconstruction of binary oppositions such as self/other, body/mind, technology/nature. This thesis proposes a shift from traditional definitions of Otherness as the non-Self to a notion of Otherness as a locus for reflection, a third term, an "in-betweeness".
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    Turkish Radical Filmmaking: A Retrospective Study
    (2021-05-14) Örsler, M. Mert; Croombs, Matthew; Tepperman, Charles; Guglietti, Maria Victoria
    This thesis situates the history of Turkish political cinema in conversation with a new parameter and theoretical concept in the discipline of Film and Media Studies, the militant image. The thesis historicizes and contextualizes the key figures and major tendencies of radical filmmaking in Turkey, presenting a retrospective survey from the 1960s to the 2000s. It begins with an analysis of cross-cultural interactions at the heart of an amateur film collective, associated with Genç Sinema Devrimci Sinema Dergisi (Young Cinema: Revolutionary Cinema Journal, 1968-1971), and this collective’s practice of the simple image. The thesis continues with a discussion of the non-professional political filmmaking scene of the middle/late 1970s and the short documentaries that this scene had produced. As a bridge to 1980s (and 1990s) post-militant cinema, the thesis takes Bilge Olgaç as its foci and marks a genealogical intersection between militant cinema and women’s films. Throughout, Yılmaz Güney unsurprisingly appears as an intertext to thematically connect the chapters. This thesis concludes with a brief examination of Özcan Alper’s Sonbahar [Autumn] (2008), framing Alper’s work as an instance wherein the rich heritage of radical cinema serves as a reference point for the contemporary political film.