|Author(s)||Neal King, Rayanne Streeter, Jessica Herling, and Talitha Rose
Neal King is a professor of sociology at Virginia Tech. He has written two books on cinema: Heroes in Hard Times (Temple University Press, 1999), which focuses on masculinity and intersecting relations of inequality, and The Passion of the Christ (Palgrave Macmillan, 2011). He has also co-edited a volume on violent women in global cinema titled Reel Knockouts (University of Texas Press, 2001). His research in inequality and popular media also appears in several anthologies as well as the New Review of Film and Television Studies, the Journal of Film & Video, Postmodern Culture, and Gender & Society. Rayanne Streeter is a PhD student in Sociology at Virginia Tech. Her work has been featured in the Women’s Sport and Physical Activity Journal and the Oxford Research Encyclopedia of Crime, Media, and Popular Culture. Her current research examines how body-positive media sites reconstruct health and womanhood. Jessica Herling is a PhD student in Sociology at Virginia Tech. Her current research focuses on medical education about transgender health and sex/gender and representations of cellular aging in popular media. Talitha Rose is a PhD student in Sociology at Virginia Tech. She has contributed to the Oxford Research Encyclopedia of Crime, Media, and Popular Culture. She researches women’s production of diverse media, from feature filmmaking and online peer-to-peer communication, to craftivism.
|Summary||Gender in Film and Video tracks changes in gender on screen by documenting trends of the internet age. The jargon-free book focuses on six instances of media in transition and their histories, including the rise of feminism on television, in sports events, and in comedy-drama series; the growth of DIY production by underrepresented groups through crowdfunding and YouTube channels; and struggles between fans and producers over control of casting and storytelling. This volume focuses on the breakdown of the categories (content, production, reception) that top-down production/distribution in TV and cinema tended to keep distinct. This text is for students in sociology, media studies, and women’s and gender studies.|