The moment of casting is a crucial one in any media production. Casting the ‘right’ person shapes the narrative as much as the way in which the final product might be received by critics and audiences. For this article, casting—as the moment in which gender is hypervisible in its complex intersectional entanglement with class, race and sexuality—will be our gateway to exploring the dynamics of discussion of gender conventions and how we, as feminist scholars, might manoeuvre. To do so, we will test and triangulate three different forms of ethnographically inspired inquiry: 1) ‘collaborative autoethnography,’ to discuss male-to-female gender-bending comedies from the 1980s and 1990s, 2) ‘netnography’ of online discussions about the (potential) recasting of gendered legacy roles from Doctor Who to Mary Poppins, and 3) textual media analysis of content focusing on the casting of cisgender actors for transgender roles. Exploring the affordances and challenges of these three methods underlines the duty of care that is essential to feminist audience research. Moving across personal and anonymous, ‘real’ and ‘virtual,’ popular and professional discussion highlights how gender has been used and continues to be instrumentalised in lived audience experience and in audience research.
The moment of casting is a crucial one in any media production. Casting the ‘right’ person shapes the narrative as much as the way in which the final product might be received by critics and audiences. For this article, casting—as the moment in which gender is hypervisible in its complex intersectional entanglement with class, race and sexuality—will be our gateway to exploring the dynamics of discussion of gender conventions and how we, as feminist scholars, might manoeuvre. To do so, we will test and triangulate three different forms of ethnographically inspired inquiry: 1) ‘collaborative autoethnography,’ to discuss male-to-female gender-bending comedies from the 1980s and 1990s, 2) ‘netnography’ of online discussions about the (potential) recasting of gendered legacy roles from Doctor Who to Mary Poppins, and 3) textual media analysis of content focusing on the casting of cisgender actors for transgender roles. Exploring the affordances and challenges of these three methods underlines the duty of care that is essential to feminist audience research. Moving across personal and anonymous, ‘real’ and ‘virtual,’ popular and professional discussion highlights how gender has been used and continues to be instrumentalised in lived audience experience and in audience research.
Creating environments in physical education (PE) that foster perceived competence and physical activity during gender-mixed game play lessons is a challenge, especially with adolescent girls. This study is a small experiment in one PE lesson that aimed to increase the perceived competence and in-class physical activity in girls, by applying a single-gender grouping strategy within co-educational classes. A final sample of 216 students (90 girls; 42%) within 13 classes in grades 7–9 (age 11–15) played basketball in mixed-gender and in single-gender teams. The effects on participant’s perceived competence and moderate-to-vigorous activity (MVPA) were assessed using questionnaires and heart rate monitors, respectively. Although girls’ perceived competence was lower than that of boys, girls’ perceived competence increased during single-gender game play. Physical activity levels were high during both mixed-gender and single-gender game play. Playing invasion games (i.e. basketball, handball, soccer) in gender-specific groups could be a useful strategy for PE teachers to implement into their lessons, in order to improve girls’ perceived competence during invasion games. https://doi.org/10.1177/1356336X13496000
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