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
The author deals with history of mass gym performances in the Czech Republic and analyzes theirs social and political meaning. From the point of view of gender that plays important role in rituals using symbolism of human body he compares Sokol festivals which have been taking place since nineteenth century with the communistic mass performances called ''Spartakiáda''. The mass Sokol exercises express the need to represent the national community. Although women couldn't participate in the public Sokol performances until the end of the nineteenth century, after their involvement there was strictly defined distinct symbolism of the female and male component (the beauty and the power). The author proves that also within the communistic mass exercises (''Spartakiáda'') there was applied consistent segregation of the gender roles, despite of communist ideology of unity of the working class. The duality of male and female body was kept, but a shift from the emphasis on the external characteristics of the body (beauty and power) to the emphasis on the functions of the human body took place. The division of the gender roles was functional - they served as a representation of society like a model of factory.
The article analyses election party propaganda in the Czech Social Democratic Women's Newspaper before the municipal elections in June 1919. It aims to describe the communication strategies employed to mobilize readers, the normative representations of women and womenVs political activity presented to the reader, as well as the negative images of class adversaries. It focuses mainly on specifically gendered ways of appealing to voters and strengthening their solidarity with the working class. The paper understands party propaganda as a means to gain insight into the discourxe on women and their political participation in the new Czechoslovak Republic. and Článek zahrnuje poznámkový aparát pod čarou