Research Proposal: Canadian Feminism Expression, Action, Rebellion

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[. . .] Others argue that Canadian feminist media is effective and there is a lot more evidence of it now than in previous decades. The research would seek questions to this answers, further elucidated the validity of the sides of the debate regarding the presence, efficacy, and use of Canadian feminist media regarding representation and expression of political intentions.

Tuer's methodology of analysis and research of video, and in the 21st century we expand this concept to apply to visual media in general, proves that tapping into media to communicate politics is effectively tapping into a sort of group consciousness and/or unconsciousness. She states

…video not only functions as a register of consciousness, but of conscencia, a term first used by Brazilian literacy theorist Paulo Friere to describe a process by which social, economic, and political contradictions are perceived and action is taken against the oppressive elements of reality. As a screen of conscencia, the medium moves beyond self-reflection into a sphere of self-definition; documentation contains critique; strategies encompass the aesthetic of social transformation and insistence of cultural autonomy. And it is as a screen of conscencia, I believe, that we can locate the history of women's video in Canada, finding in this practice a politicized satellite dish of images and imagination that not only catches the individual fragments of a dominant culture but reshapes these fragments into a collective process of self-determination. (1990)

Her line of thinking very clearly explains the potential for feminism to effect serious, social change on a massive scale with the productive use of media. Tuer argues that there is evidence of this potential realized when we scour the history of Canadian media and the history of Canadian feminism. The research would do perform these actions and more. She implies that the history of Canadian feminism and Canadian feminist media is not readily available or accessible when she states, "we can locate the history of women's video in Canada." (Tuer, 1990) If the history were readily apparent or present in the general history of Canada or the history of media, the research project and many aspects of feminism would be moot. There would be no need to struggle for accurate, easily distributed, and celebrated histories and media forms. They exist already, but because they do not, her research, her position, and the proposed research project prove necessary and useful.

The editors of the magazine Atlantis provide a current, and more technological perspective and a hopeful position in the debate around the state of Canadian feminism and the application of Canadian feminist media. (Patty & Crow, 2008) They produce and dedicate an entire issue to Digital Feminisms. The address the issues with gravity and sensitivity:

From our perspective, the "digital," in other words, the conversion of texts, sounds and images to zeroes and ones moving around the globe in nano-seconds and their ephemeral and ubiquitous qualities, are both wondrous and daunting. Digital practices have made significant changes to not only how we disseminate, transfer and send content, but also how we manage, negotiate and move in our day-to-day lives. (Patty & Crow, 2008)

They specify precisely what they mean by digital and later on, what they mean by technological so as to provide a clear context and framework within which the readers are invited to consider and engage. Their piece further supports objectives of the proposed research by stating the implications and direct affects of digital practices, technology, and media have upon how people experience and perceive life. The implications and potential significance for research in Canadian feminist media is again, reiterated in reference to the points made by Patty and Crow. (2008).

Patty and Crow go on to define what they mean by digital feminisms, the feminist potential in digital practices, and how the production & distribution of media are potential feminist spaces:

This issue focuses on "digital feminisms" and how new technologies have informed women's self-expression, cultures, labour and histories, influenced the representation of women, and changed the way in which women's issues are viewed or pursued. As feminists working in the areas of new technologies and new media practices, we were interested in how the complexity of new technologies has altered the way women think about time, space and ourselves in the digital age. Whether it is business, media, entertainment, advocacy, art, education, social action, politics or a myriad of other sites of contention, the ability of new technologies to converge with and transform past, present and future ways of interacting with the world in which we live has immense and wide-ranging implications for feminists. (2008)

This line of thinking also aligns with objectives and goals of the proposed research into Canadian feminist media. Digital feminism encompasses a wide range of forms, many of which are media forms. Digital feminisms and thus feminist media provide modes of expression to condense, combine, and remix experiences across space and time. Digital feminisms as well as media allow for connections of different sorts than previously possible because of technological innovations. Such opportunities are having profound affects on the perspectives, behaviors, attitudes and experiences of many people. Canadian feminist media that takes into consideration such conditions of the psycho-socio-cyber experience that digital practice creates will prove most effective in the attainment of feminist goals and the satisfaction of feminist agendas.

V. Theoretical Framework

The paper has mentioned thus far several instances of how the proposed research is feminist. Here, specific strands of feminism will be explicitly referenced with regard to the subject of media. Radical feminism and Marxist feminism are a part of the framework in which the research will be conducted and considered. The opinion of the author aligns in part with feminists who argue for use of media as a site of expression, rebellion, and political declaration. Media production is a highly politicized process making all media inherently political. As the 21st century economy and market become more extensively capitalist, and while the world continues to be predominantly patriarchal, it is relevant to study the cultural affects of capitalism in relation to patriarchy. Theorist Michel Foucault wrote a multivolume opus called The History of Sexuality. The predominant focus of the first volume is how capitalism subjects people based on age, sex, class, and gender. His ideas are world-renowned and are studied vigorously years after his death. Luce Irigaray in The Sex Which is Not One goes on at length at how capitalism constructs and articulates female subjectivity, female sexuality, and female presentations. Therefore there exists a substantial body of work expounding the effects of capitalism on issues of sexuality, gender, experience, and representation, all of which directly related to the study of Canadian feminist media.

Other strands of feminism within the framework of the research include ecofeminism, as green living and green technology are issues at the forefront in the 21st century digital landscape; social feminism and anarcha-feminism because a truly feminist world is one with equity in all realms including economics and socially. Furthermore, Marxism and thus Marxist feminism called for revolution and anarchy. Post-structural feminism and post modern feminism are also parts of the theoretical framework because the author agrees that gender roles are constructed and sustained through social realms. Social reality is the most important reality for many people -- just ask any of the hundreds of millions of Facebook users. These concepts of feminism also apply to the author's sense that to deconstruct capitalism, patriarchy, and even feminism, is to reveal the constructions and mechanisms of reality or of existence. Such a revelation is the deeper urge and implication for the proposed research. Additionally, in reference to the power that media producers have to reappropriate, recontextualize, and generally remix as part of media practice, the theoretical framework will also include lipstick feminism.

VI. Methodology and Methods

I intend to draw upon both qualitative and quantitative methods of research in Canadian feminist media. The process of media production qualitative and quantitative and media affects are both qualitative and quantitative. According to Jensen,[footnoteRef:0] research that integrates both approaches yields a greater depth and specificity, though methods are useful individually. The proposed research would consider the state of feminist media, the content, the proliferation or instances of feminist media, and charter the affects of the media in such areas as attitudes, behaviors, digital practices, and aesthetics. Quantitative data can gathered in most of these areas. The data may not be as fully understood or applied without a qualitative study to provide context and comparison. Media has a physical reality and it also has a social reality. It is difficult to charter and understand data regarding a social reality from a strictly quantitative perspective or research method. Qualitative research… [END OF PREVIEW]

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Canadian Feminism Expression, Action, Rebellion.  (2012, April 11).  Retrieved April 22, 2019, from https://www.essaytown.com/subjects/paper/canadian-feminism-expression-action/3041203

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"Canadian Feminism Expression, Action, Rebellion."  11 April 2012.  Web.  22 April 2019. <https://www.essaytown.com/subjects/paper/canadian-feminism-expression-action/3041203>.

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"Canadian Feminism Expression, Action, Rebellion."  Essaytown.com.  April 11, 2012.  Accessed April 22, 2019.
https://www.essaytown.com/subjects/paper/canadian-feminism-expression-action/3041203.