Sex and the Cinema: What American Pie Teaches the Young

This paper focuses upon the wildly successful blockbuster American Pie teenpics, especially American Pie 3 – the Wedding. I argue that these films, which are sited so securely within the visual and pedagogical machinery of Hollywood culture, are specifically designed to appeal to teenage male audiences, and to provide lessons in sex and romance. Movies like this are especially important as they are experienced by far more teenagers than, for example, instructional films or other classroom materials; indeed, as Henry Giroux has observed, "teens and youth learn how to define themselves outside of the traditional sites of instruction, such as the home and the school… Learning in the postmodern age is located elsewhere – in popular spheres that shape their identities, through forms of knowledge and desires that appear absent from what is taught in schools" (Giroux, 1997, p.49). In this paper I discuss whether the American Pie series is actually a "new age" effort which, via insubordinate performances of gender, contests the hegemonic field of signification which regulates the production of sex, gender and desire, or whether it is more accurately described as a retrogressive hetero-conservative opus with a veneer of sexual radicalism. In short, I intend to probe whether this filmic vector for sex education is all about the shaping of responsible, caring, vulnerable men, or is it guiding them to become just like their heterosexual, middle-class fathers? And whether, despite its riotous and raunchy advertising, American Pie really dishes up something spicy or something terribly wholesome instead

Young girls embodied experiences of femininity and social class

Based on research with middle-upper class 12-13 year old school girls, we discuss how femininities were embodied and discursively reconstructed in class-based ways. The data suggests the girls understood class antagonisms within the boundaries of neoliberal discourses of responsibilisation, self-discipline, self-worth, and ‘proper’ conduct and choices. With class stripped of any structural or structuring properties, instead imparted to the fleshy sinews of the (excessive) body, the data reveals how social class was made visible and manifest in various mechanisms of, and meanings about, inclusion, exclusion, pathology and ‘normalisation.’ Thus, in explicating the ways in which the school girls embodied middle-class femininity (as the epitome of localised and everyday neoliberalism) we highlight how, in turn, ‘others’ (‘chavs’) were pathologised and deemed in need of regulation, management and governance

Pests have enemies too : teaching young scientists about biological control

The background material for teachers and the student activities that make up Pests Have Enemies Too were designed to help young scientists become aware of what biological control is and how it can be used to help manage various types of pest organisms that plague humanity. The material in this booklet is likely to be unfamiliar to most middle and early high school students and should be used to supplement existing curricula and texts on biology, ecology, and environmental education. Pests Have Enemies Too is not a curriculum; rather, it is a sequence of activities designed to give students a broad overview of biological control. The concepts presented in these materials are based on sound scientific research and should provide students with the necessary information about this very important topic so that they may make informed decisions about pest control and pest management in the future.University of Illinois Urbana-ChampaignOpe

The organizational construction of hegemonic masculinity: the case of the US Navy

This article examines the construction of hegemonic masculinity within the US Navy. Based on life history interviews with 27 male officers, this study explores alternative discourses and identities of officers from three different communities in the Navy: aviation, surface warfare, and the supply corps. Definitions of masculinity are relationally constructed through associations of difference: aviators tend to draw upon themes of autonomy and risk taking; surface warfare officers draw upon themes of perseverance and endurance; and supply officers draw upon themes of technical rationality. Further,these masculinities depend upon various contrasting definitions of femininity. Finally,this article explores a series of contradictions that threaten the secure construction of masculinity within this military culture

He Scores Through a Screen: Mediating Masculinities Through Hockey Video Games

Hockey video games highlight the ways in which the video game medium shapes and conditions the experience of producing and/or performing the sport “in real life.” Indeed, the accumulation of advanced statistics in and through the constant evaluation, measurement, and surveillance which are inherent to video games—and increasingly seen as foundational for sport—reveals important contradictions not only in the way the embodied sport is played and understood, but also in terms of the proofs of masculinity upon which the sport is built. It then becomes clear that the building of masculinity and the empowerment of the character become one and the same. The ludic function reinforces the cultural imperative and vice versa. Thus, our chapter prizes apart the conflation of masculinity with hockey while showing the ways that video game studies can contribute to existing disciplines

“You made me look bad. And that’s not good”:The millennial cultification of Fatal Deviation, Ireland’s only martial arts film

The ultra-low-budget video-shot Fatal Deviation (1998) has become renowned in cult cinema circles as Ireland’s only martial arts action film and as a unique example of ‘badfilm’, both critiqued and celebrated for its technical ineptness. This article interrogates its classification as ‘badfilm’, analysing the ways in which it both meets and fails to meet expectations concerning its generic classification, and the role of the soundtrack in shaping these expectations. Rather than the sound being considered ‘bad’ purely due to a failure to meet recognized technical standards, I argue that critique of the soundtrack demonstrates a conflict of sonic taste frameworks and hierarchies. In addition, Fatal Deviation’s cultification is a peculiarly millennial phenomenon, associated with technological changes and changes in the social uses of media technologies from the 1990s onwards that have shifted in tandem, and I argue therefore that this process of cultification is historically contingent.</p

A shifting enemy: analysing the BBC’s representations of “al-Qaeda” in the aftermath of the September 11th 2001 attacks

This article seeks to explore how the BBC made sense of the al-Qaeda phenomenon in its flagship “News at Ten” bulletin during the aftermath of the September 11th 2001 attacks. Using Critical Multimodal Discourse Analysis, it shows how the BBC’s representations function as a dynamic and continually shifting site upon which a range of fears, identities, discourses and forms of knowledge and power struggle and contend, and through which a number of different “al-Qaedas” manifest themselves. In particular, three shifting modes of visual and verbal representation are identified within the BBC’s coverage which each correspond to a separate understanding of al-Qaeda: the “Islamic” mode, the “Personalised” mode and the “Elusive” mode. These representations both draw upon and challenge the dominant discourses surrounding Islam, non-state terrorism and the identities of terrorist suspects, providing audiences with a variety of often conflicting ways of seeing and speaking about this entity. As such, the article provides insight into the complex nature of the BBC’s representations of al-Qaeda during its coverage of the September 11th 2001 attacks, and shows how such complexity serves, albeit inadvertently, to legitimise the far-reaching counterterrorism policies that were enacted in the aftermath of these attacks

Biceps, Bitches and Borgs: Reading <i>Jarhead</i>’s Representation of the Construction of the (Masculine) Military Body

This paper explores the relationship between masculinity, the body and the military through a close reading of the film Jarhead. Drawing on a Foucauldian frame of analysis, we consider three performances of the masculine military body that form key aspects of the film’s representational economy: the disciplined body, an outcome of the processes of basic training; the gendered body, realized through deployment of metaphors of the feminine to strengthen the masculine conception of the military body; and the cyborgian body, the result of the man-machine interface which is rapidly developing in many militaries around the world, and which poses significant questions for performances of military masculinity. We conclude by suggesting that the film’s rendering of the material and discursive body reveals an unexpected tension between the expectations of military bodies and the lived experience of their labour. As well as augmenting empirical explorations of male-worker-bodies and analysing the occupation of soldier as requiring a unique kind of body work, our contribution to the body-organization literature turns upon the claim that docile military bodies are made fit for purpose, but may actually no longer have a purpose for which to be fit