School of Communication and Multimedia Studies

Women’s rights in Islam became a major subject after the third feminist
movement in the United States. When feminism spread globally, many Islamic scholars
connected it to Islam. Islamic feminism is a term that takes most of its ideologies from
the two primary sources of Islam – the Quran and the Sunnah. This qualitative research
explained the bias directed towards women in Islam by using objective reasoning
through examples as well as by encompassing any misinterpretation of views regarding
women’s rights in Islam. The method used was a content analysis. The findings were
that Islam is a feminist religion. While Islam provides Muslim women with full rights,
U.S. and Saudi Arabian cultures have impeded Islamic feminism. Lastly, the U.S.
feminism started as a movement by women to empower women. However, Islamic
feminism first focused on the rights of all human beings, then concentrated on women in
Islam.

The main aim of this dissertation is to discuss the way women negotiate the cultural meaning of hair loss, alopecia, as a result of undergoing chemotherapy, and to understand, accordingly, how cancer's cultural effects regarding women can be deeply different from those of men. Very few studies have been done about the cultural impact and resonance of alopecia. It is often regarded as "secondary" to other effects of chemotherapy. Because, in many cultures, head hair for women expresses or manifests attractiveness and power, to be bald is to be deprived of the ability to fit into society, whether in the public or private sphere. The study examines the representation of such women in the media, audience/subject responses to these representations, and interrogates women's identities and representations in terms of Laura Mulvey's theory of the male gaze. Women who have experienced chemotherapy-induced alopec ia were interviewed in this regard. Other contributive feminist, cultural and/or media studies works, such as those by Suzanna Walters, Susan Bordo, Naomi Wolf, Donna Haraway, Stuart Hall, Kimberle Crenshaw, and Judith Butler, help facilitate the analysis. From these perspectives, a historical analysis takes into consideration the symbolic dimension of hair, especially women's head hair, within Western cultural history, particularly in France and a multicultural America. In addition, a textual analysis looks at women, cancer, and hair loss as represented in popular culture characters and personalities. The study insists on the necessity for women to resist to the culture industries and deconstruct the male gaze, as well as the female gaze, which can both contribute to, and perpetuate women's objectification.

The 1990s ushered in what historian Susan Stryker describes as “a tremendous burst of new transgender activism” in the United States. Concomitantly, the success of Star Trek: The Next Generation led to a renaissance of US science fiction television. This dissertation asks, what is the relation between transgender (trans) politics and US science fiction (sf) television from 1990 to the present? The theoretical framework is Trans/Elemental feminism, a new paradigm developed in the dissertation. The method is multiperspectival cultural studies, which considers how the production, content, and reception of media texts and their metatexts collectively determine the texts’ meaning. The data include trade articles about the television industry; published interviews with producers; 3,175 hours of televisual content; commercial advertisements for television programs; films, novels, and webisodes (Web episodes) in selected media franchises; professional reviews; online discussion boards; fan fiction; and fan videos.

This thesis is a study of the role of local television stations in Kargil (India), which investigates whether the success of local media in Kargil is a result of fulfilling the needs and desires of the local community, using the methods of content analysis, interviews, and surveys. Kargili local television stations have adopted global media technologies for disseminating their programs, but at the same time have changed some of the television convention to feed their needs and expectations of local viewers. The forces of globalization have not only exposed places like Kargil to new technologies, but it has given them an opportunity to participate in new discourses, to create a local media that is being used to address the specific concerns and problems of the local community.

In just over one year since United States v. Windsor— the case invalidating sections of the Defense of Marriage Act (DOMA) that defined marriage, for purposes of federal statutes, as the “union of man and woman”— more than a dozen states have had their same-sex marriage bans ruled unconstitutional. This suggests a shift in legal meaning; previously successful arguments against same-sex “marriage” now seem irrational as argumentative ground has shifted. Since favorable rulings redefine “marriage” to include same-sex unions, this thesis analyzes Kitchen v. Herbert, a 2014 legal opinion from the United States Court of Appeals Tenth Circuit, to understand the rhetorical processes underpinning its redefinitional act. That analysis draws on Kenneth Burke’s theories of entitling and constitutions and discusses the rhetorical concepts of terministic screens, casuistic screens, scope and circumference as key features of the rhetoric of the legal opinions. The findings call for a balancing of deconstructive and conventional approaches to legal discourse.

Wassily Kandinsky wrote Über das Geistige in der Kunst, in 1912, and was
translated from German into English by Michael Sadler. Naming it at first, “The Art of
Spiritual Harmony” in 1914 it is known as, Concerning the Spiritual in Art. He wrote
color and music theories based on angles, synesthetic experiences, subjective instincts,
chromotherapy, and shapes. Kandinsky’s theories are worth continuing to research and
bring forth into the new generation of technology where we can see music as numerical
expressions. The goal of this iPhone Application is to teach users the relationship
between color and music based on Kandinsky’s theories.

Mass Effect is a Science Fiction/Action Role Playing/Third Person Shooter video
game series that takes place in the year 2183, in which the player assumes control of
Commander Shepard. Players can choose to customize the character based on his/her
gender, appearance, sexual orientation, background origin and occupation. The
choices that show up in the game are also based on how the player wants their version
of Shepard to interact with other characters and allows players some leeway to shape
their own narrative. The series also discusses and acknowledges issues of race, gender, subjecthood and sovereignty, politics and sexual orientation within its narrative. This analysis
focuses on the text of the series and its implications concerning hegemonic reinforcement and/or resistance in terms of race, gender, sexual orientation, politics, and warfare tactics.

The superhero film genre has recently witnessed a reinvention of the girl sidekick.
Instead of falling back on the perpetuated and well-known stereotypes of female
heroines, recent offerings have allowed for several strong and innovative female
characters to emerge. This close textual analysis of specific feminist examples from the
films, Kick-Ass (2010), Scott Pilgrim vs. The World (2010), and X-Men: First Class
(2012), examines young heroines as having feminist tendencies in a postfeminist
moment. This analysis employs aspects of film theory, feminist theory, and also focuses
on adaptation as a potentially powerful and problematic tenant of the films. Through this
thesis, I contend that while none of these characters are positioned or marketed as
specifically feminist, their collective resistance to hegemonic ideals underscores a
movement towards articulating the failings of postfeminism in contemporary girlhood.

This thesis is an exploration of popular media texts that influence veganism, with either explicit representations or implicit messages that implicate vegans. Research focuses on the question: How does the gendering of food in popular media texts implicate veganism? Theories used include a combination of cultural, film, and feminist studies, including Stuart Hall’s audience reception, Laura Mulvey's male gaze, R.W. Connell’s hegemonic masculinity, Carol Adams' feminist-vegetarian critical theory, and Rebecca Swenson's critical television studies. A print and television advertisement analysis demonstrates the gendering of food, and subject-object relationship of meat, women, and men. A film analysis of texts with vegan characters and horror film texts with implicit vegan and feminist messaging follows, thus revealing interesting trends and developments in the characterization of vegans on films, and hidden messages in the horror films studied. Lastly, an examination of competitive and instructional cooking shows ends the analysis, with interesting challenges to hegemony present in these television texts. The thesis concludes with examples of modem media feminizing veganism through food associations, the problematic imagery of women and meat as fetishized objects, along with challenges to hegemony that exist in some explicitly vegan texts.

This thesis utilizes a multi-perspectival cultural and media studies approach analyzing the production, filmic text, and reception of Taarka, the first film about Setos, that is advertised as a (docu)drama. However, the analysis shows that it can also be interpreted as an ethnographic film. It examines which intersecting identities related to Seto women are depicted in the film and whether audiences and critics recognize the power dynamics of these intersections. It also analyses how the Estonian cultural
economic environment, the filmic text, audience comments and critics reviews reinforce or challenge hegemonies connected with these intersections. Drawing on the principles of postcolonial feminism, intersectionality, and other critical theories, the thesis concludes that even though the filmic text challenges traditional gender roles, it still reinforces the Estonians’ one-sided portrayal of an exotic, commodified Seto ethnicity. Moreover, the cultural economic environment and reception of the film also bolster this view of Seto ethnicity.