Titlebook: #MeToo, Weinstein and Feminism; Karen Boyle Book 20191st edition The Editor(s) (if applicable) and The Author(s), under exclusive license

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Back Matterotografieren als Aktivit?t, der Fotografie als (greifbares) Resultat, den handelnden Personen und andererseits dem Recht und der Steuer?konomie. Wie so oft handelt es sich um die Bearbeitung von Mehrebenenproblemen, die nur disziplinenübergreifend zu l?sen sind.

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within the film and television industries. The book concludes with an exploration of what the #MeToo era has meant for men as victims/survivors and as alleged perpetrators, in relation to narratives of victimisation and of monstrosity...978-3-030-28243-1

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Karen BoyleOffers a timely investigation of the significance of #MeToo and the broader debates around gender, power, violence and cultural value which it has initiated.Situates #MeToo in relation to histories of

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https://doi.org/10.1007/978-3-531-91673-6earch on which it draws. It provides an account of the development of #MeToo in the wake of the reports relating to Harvey Weinstein, but argues for the importance of distinguishing between the hashtag and the wider, and continuing, history of “Me Too” as a movement. This chapter additionally clarif

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Christian Meineke,Christina Gorol traditions of consciousness-raising. Central to the discussion is a concern with the personal . political function of speaking out, and how media engagement with victim/survivors’ experiences can shape, extend and/or limit their political potential. At stake is the position of feminism in mainstrea

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Monika Kringe,Dorothee Griehl-Elhozayelts theorise the connections between different forms of male violence against women. It explores the challenges in translating feminist theory into media commentary, arguing that continuum thinking has been distorted in the backlash against #MeToo to suggest that feminists cannot distinguish between

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Pudding für alle – au?er für Yvonneociated with men’s abuse of women provide an explanation for this contradictory in/visibility. It explores how the production cultures of film and television, as well as popular representations of the industries and their stars, can condone male violence against women and blame victims. The chapter

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