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Assessing industry ideologies: Repre...

Palmieri, Stephanie J.

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Assessing industry ideologies: Representations of gender, sexuality, and sexual violence in the book versions and film adaptations of The Hunger Games trilogy, the Divergent trilogy, and the Vampire Academy series.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Assessing industry ideologies: Representations of gender, sexuality, and sexual violence in the book versions and film adaptations of The Hunger Games trilogy, the Divergent trilogy, and the Vampire Academy series./
Author:	Palmieri, Stephanie J.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
Description:	384 p.
Notes:	Source: Dissertation Abstracts International, Volume: 78-05(E), Section: A.
Contained By:	Dissertation Abstracts International78-05A(E).
Subject:	Communication. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10240767
ISBN:	9781369482843

Assessing industry ideologies: Representations of gender, sexuality, and sexual violence in the book versions and film adaptations of The Hunger Games trilogy, the Divergent trilogy, and the Vampire Academy series.
Palmieri, Stephanie J.

Assessing industry ideologies: Representations of gender, sexuality, and sexual violence in the book versions and film adaptations of The Hunger Games trilogy, the Divergent trilogy, and the Vampire Academy series. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 384 p.

Source: Dissertation Abstracts International, Volume: 78-05(E), Section: A.

Thesis (Ph.D.)--Temple University, 2016.

In this study, I use social constructionist feminist and queer theory and narrative analysis to identify messages about gender, sexuality, and sexual violence in both the book versions and film adaptations of The Hunger Games trilogy, the Divergent trilogy, and the Vampire Academy series. These three series are representative of a major pop culture trend in which young adult novels are not only popular and financially successful, but in which these types of novels are being adapted into major films. In this study, I demonstrate that the book and film series all generally privilege whiteness, able-bodiedness, and heterosexuality, and in doing so, these texts reproduce a narrow worldview and privilege normative ways of knowing and being. However, while the films strictly reinforce normative understandings of gender, sexuality, and sexual violence, each book series reimagines gender in important ways, disrupts normative scripts that denigrate women's ownership over their sexuality, and represents sexual violence in graphic but not exploitative ways that portray the real life consequences and complexity of sexual violence.

ISBN: 9781369482843Subjects--Topical Terms:

524709
Communication.

Assessing industry ideologies: Representations of gender, sexuality, and sexual violence in the book versions and film adaptations of The Hunger Games trilogy, the Divergent trilogy, and the Vampire Academy series.
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245 1 0 $a Assessing industry ideologies: Representations of gender, sexuality, and sexual violence in the book versions and film adaptations of The Hunger Games trilogy, the Divergent trilogy, and the Vampire Academy series.
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300 $a 384 p.
500 $a Source: Dissertation Abstracts International, Volume: 78-05(E), Section: A.
500 $a Adviser: Jan Fernback.
502 $a Thesis (Ph.D.)--Temple University, 2016.
520 $a In this study, I use social constructionist feminist and queer theory and narrative analysis to identify messages about gender, sexuality, and sexual violence in both the book versions and film adaptations of The Hunger Games trilogy, the Divergent trilogy, and the Vampire Academy series. These three series are representative of a major pop culture trend in which young adult novels are not only popular and financially successful, but in which these types of novels are being adapted into major films. In this study, I demonstrate that the book and film series all generally privilege whiteness, able-bodiedness, and heterosexuality, and in doing so, these texts reproduce a narrow worldview and privilege normative ways of knowing and being. However, while the films strictly reinforce normative understandings of gender, sexuality, and sexual violence, each book series reimagines gender in important ways, disrupts normative scripts that denigrate women's ownership over their sexuality, and represents sexual violence in graphic but not exploitative ways that portray the real life consequences and complexity of sexual violence.
520 $a My analysis of these texts reveals that the book series employ a variety of mechanisms that empower the women protagonists including establishing their narrative agency and representing them as gender fluid, while the film series utilize a variety of mechanisms that both objectify and superficially empower women including an emphasis on women's sexualized physical bodies especially in times of vulnerability, the pronunciation of "natural" sexual differences, and the strict regulation of women's bodies by dominantly masculine men. I argue that the significant alteration of the books' original messages are a product of logistical, historical, cultural, and economic elements of the film industry, which has continually constructed women's roles in terms of their sexual availability, victimization, and need to be rescued by heroic men. In this study, I address the institutional imperatives of the film industry that dictate specific representations of gender, sexuality, and sexual violence, and I address what these representations might mean for audiences.
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