The South Korean film industry represents a masculine-privileged gender regime that over the last few decades has shown a newfound strength both at home and abroad. However, challenging this masculine privilege are a growing number of important though unheralded female writers-directors operating in both the independent and commercial sectors of the industry. In this article, the authors present a case study that explores the work of five of these female writers-directors within this context. They begin by asking two key questions: can female writers-directors find a voice within the Korean film industry that challenges the traditional gender stereotypes both within the industry and in the wider Korean culture? How can the Korean experience connect to the Western experience? The first methodological step in explicating the case study is to set out a particularly Western theoretical approach that emphasises the idea that masculine privilege exists hegemonically within the so-called ‘hegemony of men’. The authors then go on to highlight specific elements in the work of these female writers-directors that expose aspects of both challenge and constraint within the hegemony of men. They conclude that, although the work of these female writers-directors indeed challenges tradition and gendered stereotypes sustained within the hegemony of men, such challenges represent moments of reformism rather than revolutionary systematic change., Richard Howson, Brian Yecies., and Obsahuje bibliografii
Since about 2004, the boom in the production of original Czech television series has been accompanied by the slow but steady increase in the appearance of non-heterosexual characters on TV. This analysis focuses on gay characters: what they are like, why and how they appear and disappear, how their non-heterosexuality is established and how it develops in the narrative of the series. A notable change can be observed in how gay male characters are being depicted: from depictions of mostly miserable characters whose coming out is their only dramatic potential in the narrative, to more complex portraits of characters who are incorporated into the story, experiencing love, partnerships and even parenthood - elements otherwise normal in series narratives. Alongside this more descriptive type of analysis, the author draws on Connell and Messerschmidt’s concept of hegemonic masculinity to draw attention to representations of practices that produce the masculinity of non-heterosexual (male) characters as subordinate , as complicit, and, in the case of recent characters, even as hegemonic. The representation of non-heterosexual characters as hegemonically masculine seems to be a form of ‘narrative redemption’ through homonormativity., Zdeněk Sloboda., and Obsahuje bibliografii