Selfies as Gendered Screen Culture

Answer to Week 4:
The “action heroines” are found to be more robust, smarter and better enhanced with
equipment as compared to male counterparts. They have turned to be strong female
protagonists in different action films. Here, a critical reason why various action
heroines are complicated in order to conceptualize as strong feminine characteristics
are seen as a binaristic logic of various theoretical models. Here, for example,
feminists are found to be working under a dominant theoretical model of effective
psychoanalysis. They have highly limited space under which the transgressive and
transformative potential of action heroine is considered.
The study mentions that characterization of a body has been asserting more positive
kind of difference which is non-hierarchical in nature. This is on different negatively
binary models. It also is shown that as the body is re-conceptualized according to a
site of transformation and experimentation, indicates that the body of women can be
imagined outside various notions. The assemblage of words like “heroine” and
“action” has been changed the different nature of structures. Further, this has been
exceeding the limits of the essentializing system of genders. However, contrary to this
idea of male-female distinction has been constraining different kinds of multiplicity of
difference-making that has led to subjectivity. Moreover, the present study shows that
the women body living with its total potential has not been organized as per specific
organs. It is seen as a body without organs comprised instead if various independent
body parts. This is referred to as “desiring machines: connecting and reconnecting

with other objects, elements and devices seen from various frames of references for
creating specific kind of assemblages.
The author shows that from a Deleuzian point of view, it has made no sense of
reading technology. This can be compared to a gun as a fixed referent for a phallus.
Instead, it is also understood that as one of the vital elements of machine, the
connection between the hand of a woman forming the assemblage of a gun. However,
it has no connection with attempted compensation for the initial lack instead of
activity producing a new body. Here, the transformation has taken place while the
repetition is replaced through a difference of dynamic assemblage of various forces
and elements. Since these assemblages are never restrained through expectations
about proper connections and behaviors, they are related to contesting ideas of fixed
subjectivity and gendered identity. Thus instead of a situation of mere being, Deleuze
has pointed the concept of “becoming” the process of transformation. This is further
created as the body that disconnects from various kinds of habituated modes of
features of thinking and acting. This is in favor of changing and multiple means of
experimentation.
Thus the study highlights those female bodies over the screen can act as compared to
action heroes. Apart from seeing the reaction of feminine shape as literal, an action
heroine can be interpreted as a visual metaphor for academic and career success. They
have taken pleasure to see women to be successful despite any adversity. It has
revealed that post-feminist sensibilities have promoted action heroines successful in

various intellectual arenas. At the same time, discipline action heroines have rendered
them unbelievable as a reliable and physically powerful human (Hills, 1999).
Answer to Week 5:
In this article, Teresa de Lauretis has indicated overall four type of propositions. Here,
the first proposition states that “gender” is a type of representation. However, it
cannot be said that it never had any real and concrete implication in both subjective
and social consideration. This is for the material life of individual people. For
example, in the image captured in transformative instant in Metropolis, as the metallic
robot Maria goy infused with screen format has been small. Further, it was not been
based on projection. Thus the deployed interactivity changed to spectator to user
(Friedberg, 2010).
The next proposition is that representation of gender can be seen as its construction.
At the purest sense, it is said that among every high culture and Western art, this is
engraving the history of building. It is a process and product of representation. It has
never equated genders with impacts of ideology. It has seemed that singular history of
cinema, in spite of any dovetailing constipation like computer, television, radio,
telephone has provided a narrowly developed geneology. As the area of “information
science” is considered, and never been the part of understanding visual culture, the
history of computer and telephone has turned into notable tributaries at converging
stream of media. Thus, analytical engine of Charles Babbage has been seen as the
notable remaking of visual imagery. This is a mechanical precursor onwards modern

day digital computing to store numbers, retrieving that, change that and store in other
location. Besides, phenakistiscope of Plateau, any optical toy regarded as primary pre-
cinematic tools has demonstrated the way in which movements are examined to those
static elements. This has been seen as a moving image while seen through slits of any
spinning disk.
Again, the third proposition indicates that gender construction has been going on
busily. Since the subject of studying movies is found to redefine itself, they have been
revising the internal historical accounts and creating the area to evolving multiplicities
of visual and cultural studies. Here, most of work has been coincident with campaign
for academic legitimacy of researching movies. This has been as a republic separate
from the initial disciplinary overlords.
Lastly, the fourth proposition reveals that gender construction has been impacted
because of deconstruction, paradoxically (De Lauretis, 1987). The subject of film
studies has found to redefine itself. This has been revising their internal historical
accounts and then open up the area to rise in multiplicity o. However as latest
technologies has been creating future of film reception and cinematic production, it
has required to assert their individual historicity. As some indicators of where latest
technologies would take genders discrimination, there is still no clear idea of what
would be the sustainable innovation are market terms. As the present display media
and storage is seen as a transitional technology, films and other visual materials has
been moving on line. Hence this the more apparent that with the quickness of radical