Nadia Ahmed | June 4, 2018
Addressing the lives of women, particularly white, heterosexual, cisgender, American women, is the film I Feel Pretty, which came out last month. What struck me upon watching this film was that the main character’s sense of self compares so closely to the narcissistic woman described in Simone de Beauvoir’s work The Second Sex (1949). This article is concerned with drawing parallels between I Feel Pretty and The Second Sex in order to question the transcendence of the protagonist, Renee (played by Amy Schumer), who, bored and unsatisfied with her life, inculcates herself into a state of self-obsession.
Nadia Ahmed | June 4, 2018
Anahit Behrooz | November 6, 2017
At its heart, Stranger Things is about tension: the tension between the normal and the weird, the familiar and the unfamiliar, the known and the strange. The normal and the familiar are established through the show’s primary setting – the small, quintessentially American town of Hawkins, where everyone knows everyone, children can play outdoors and, according to the town’s chief of police, Jim Hopper, the worst thing to ever happen was an owl flying at a citizen’s head. This familiarity is reinforced on an extradiegetic level through the numerous intertextual references to numerous works of 80’s sci-fi genre fiction, which provide a network of signifiers that make Stranger Things immediately readable and accessible. At the other extreme, events happen throughout the show to destabilise this familiarity.
Anne Liebig|10th June 2017.
‘This is a true story.’ Every connoisseur of the Coen brother’s timeless classic Fargo and its equally cult-like series spin-off about small-town megalomania will appreciate the tongue-in-cheek quality of so blatant a lie. The sentence is repeatedly dangled in front of the viewer at the beginning of each episode as a propitious prop for make-believe, calling viewers to rejuvenate their sense for a suspension of disbelief and jump right into this mellifluent maelstrom of snow storms, ice deserts, and funny accents. If it is only popular entertainment, what does it have to do with our current post-truth political climate?
Ellen Davis-Walker | 25 April 2017
Mathieu Kassovitz’s 1995 box office sensation La Haine has long been credited with propelling French hip hop on to the global stage. Drawing on original material by Ministère AMER, NTM and MC Solaar, the film’s soundtrack managed to capture the sonic traces of social unrest on the fringes of French society. Whilst France’s victory in the 1997 FIFA World Cup seemed to mark a momentary coming- together around the inclusive slogan ‘Black-Blanc-Beur’ (Black, White, Arab), the contentious and fractured question of national identity has continued to dominate the country’s musical and political landscape ever since.
The emergence of rap au féminin (female rap) over the past decade marked a significant step in the development of multi-faceted ‘French’ identity. While anglophone female artists of the early 2000s were predominantly focused on debunking “the sexual and material objectification faced by women in the industry,” this article will ask how rap au féminin has offered artists the possibility to explore both what it meant to be a woman in this period, and what it meant (and still means) to be French.
Alberto Nanni | 20 February 2017
Politics have always been full of buffoons and this is no news. In America currently, being allegedly rich and charismatically outrageous seem more important than intelligence and integrity for political success. But is this something new? The newly elected president of the United States is not an isolated case. As an Italian expat, I can’t help but think that Trump has at least one renowned precursor: Silvio Berlusconi. And I don’t just limit their similarities to their orange complexion.
November 26, 2015 | Patrick McGhee.
History means talking to each other. More now than ever before, members of the public are able to join with students, researchers and academics in order to communicate and connect across departments and disciplines, countries and continents. Digital platforms and social networks such as academia.edu, WordPress and Twitter can both augment and change the way we share and debate ideas.
November 9, 2015 | Tom Sewel.
How do we read comics? How are the ways in which we read comics changing? For most of their history, the ways in which we have read and talked about comics has been left to comics fandoms to decide. While this has produced a passionate proliferation of reading approaches, it has meant that critical rigour has only very rarely been brought to bear on this uniquely multi-modal narrative form. With the academy’s relatively recent acceptance of comics as literature, this public conversation is now seeing a seismic shift.
November 1, 2015 | Adam Cohen.
I’ve now written two dissertations during two different degrees with a grand total of 25,000 words on Japanese and Chinese history and yet whenever I tried to tell anyone what I was working on I would, without fail, have the following conversation: ‘Oh so how well do you speak Japanese/Chinese?’ I don’t, and I sure as hell can’t read it. ‘When are you going out to China/Japan?’ I’m not, at least not before the deadline. These were fair enough questions to ask and no doubt someone who did speak the language would have written a much better thesis than the one that I churned out. I know a lot of people though who started to narrow down a global research area, came up against these language/travel barriers, and immediately veered away from non-English history entirely, and I think this leaves a wealth of potential scholarship unexplored.
November 2, 2015 | Cherish Watton.
The Women’s Land Army was a civilian organisation set up during World War One and used again in World War Two until 1950. Women replaced men on the land, working in multiple roles in agriculture, forage (haymaking for food for horses) or timber cutting. What can we learn about the representation of women’s wartime work from The Landswoman journal?
October 31, 2015 | Sarah Hertz.
Hi, my name is Sarah and I am a grad school dropout. Well, not really — I’m actually a graduate of the University of Cambridge who decided not to pursue a PhD. Halfway through my Master’s in Renaissance literature, it began to dawn on me that life exists outside of academia. To the horror of my mentors as well as my former self, I developed a taste for tiaras, hip hop, and climbing the roofs of seventeenth-century colleges. Indeed, my year at Cambridge was primarily one of personal as opposed to intellectual growth.