David Attenborough: If We Don't Limit Our Population Growth, the Natural World Will. “A Plague on Earth” David Attenborough, renowned British naturalist and TV presenter, has some pretty scathing words for humanity: “We are a plague on Earth.” Attenborough made that statement to the Radio Times back 2013, but it’s far from the only time he’s shared his controversial views on population growth. Attenborough has made it clear that he believes that at the rate humans are growing we will soon be unable to feed or house ourselves.
It’s an uncomfortable truth, but one that needs to be faced, especially for anyone who agrees with Attenborough that humans have become a plague on this planet — a relentless force of destruction tearing its way through a world shared with other creatures. “It’s coming home to roost over the next 50 years or so. It’s not just climate change; it’s sheer space, places to grow food for this enormous horde,” he said in that same interview. Too Little, Too Late? Gay Men and the Sexual History of the Political Left - Gert Hekma, Harry Oosterhuis. Explore the development of left-wing sexual politics from the 1830s to the present, documenting communist, socialist, and anarchist views toward homosexuality and the involvement of homosexuals with the left. Chapters in this fascinating book are authored by an array of international scholars who examine key developments in Western Europe, the Soviet Union, and the United States, exploring the attitudes and policies of leftist thinkers, parties, and regimes toward homosexuality.
Chapters cover a diverse array of topics, including openness toward homosexuality of French utopian socialists in the 1830s, the hate-filled pronouncements of Marx and Engels, responses to Stalin's anti-gay policies, gays in Germany before and since the fall of the Wall, Spanish anarchists in the 1930s, gay spies Guy Burgess and Anthony Blunt, and relations between the left and gay liberation movements of France and the United States.
50 Fascinating Works of Angela Carter Fan Art. Angela Carter is one of those rare writers who has not only readers but fans. That is, those who not only love her work but who also use it to self-identify, who make it a part of their lives, and in this case, who make art about it. There is a lot of Angela Carter fan art out there. Perhaps you would like to see some of it. NB: I’m using the term “fan art” here to refer to work by amateur artists and illustrators as well as established ones, so long as the the artwork in question was never actually used as official art for any of Carter’s books. “The Company of Wolves,” by Emily W. “The Bloody Chamber” by Iro Tsavala, shortlisted in the Folio Society competition to illustrate The Bloody Chamber “The Company of Wolves, by Iro Tsavala, shortlisted in the Folio Society competition to illustrate The Bloody Chamber “Puss in Boots” by Michaela Meadow Grandma Chance from Wild Children, by Ellen Leber “Nights at the Circus,” by Emma Block Illustration by Emma Dobson “Puss in Boots” by Louis Vinet.
Curation Forward. Reflective Commentary on the Process of Curation.
Joey Gibbs's Blog - Player Agency, Critical States, and Games as Formal Systems. The following blog post, unless otherwise noted, was written by a member of Gamasutra’s community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company. Hello again true believers, and welcome to another of Joey's (pen)weekly blog posts! Joey here, reporting live from FS's UXL. The post is a little early this week - because I'll be out of town for the weekend and likely will have little desire to compose - but hey, I'll chalk it up to being slightly more proactive than is my usual modus operandi.
True as ever to my word, today's topic will be player agency - that mystical force that is the hallmark of interactive media everywhere. So what is player agency, exactly? Well, player agency describes the ability of a player to interact meaningfully with gameworld. In my thesis, I am currently defining interactivity as the ability of a player to alter the state of a game system.
A neutral state is one that can be undone. Wow. Peace! Introduction: Feminist Game Studies - Ada: A Journal of Gender, New Media, and Technology. Just over a year ago, Anita Sarkeesian launched a Kickstarter campaign to fund a video project exploring the representation of women in digital games. When the funding campaign for her project “Tropes vs. Women in Video Games” began, Sarkeesian was already an established feminist media critic. Her videos touched upon a range of subjects, from liquor ads to BitTorrent, from LEGOs to Kanye West. Her YouTube channel had thousands of subscribers, and those of us who teach media and gender studies often turned to Sarkeesian’s short, witty, and accessible video essays for classroom examples of media literacy in action. My students were inspired by her work to make videos of their own. Following a six-part series she created for Bitch magazine examining gender tropes in film, television, and comics, Sarkeesian turned to video games, and made an appeal to her subscribers and followers for capital support for her work.
Explicit cookie consent. AT A press screening of “Batman v Superman”, Henry Cavill had barely taken a step on to the stage when the applause was punctuated by a female voice from the back shouting “TAKE YOUR TOP OFF!” Though Mr Cavill politely laughed—demurring “No, thank you”—his recent complaint that he is objectified by female fans has caused more than a few eyes to roll. Data collected by researchers at USC Annenberg and the Harnisch Foundation might validate Mr Cavill’s claim. Since 2007, the ‘hypersexualisation’ of men on film has increased; in 2014, 8% of male characters were figured in “sexualised attire” (up from 4.6% in 2007), whilst 9.1% (an increase from 6.6%) were shot “with some nudity”. 2013 (incidentally the year that “Man of Steel”, featuring Mr Cavill, was released) marked the high water mark of this trend, with 9.7% of male characters in sexualised attire and 11.7% getting some (or all) of their kit off.
Cis meaning.
Post-Feminisms. Cyberfeminisms. Feminisms & Pornography. Monstrous Feminine. Intersectionality. The Largest Ever Analysis of Film Dialogue by Gender: 2,000 scripts, 25,000 actors, 4 million lines. Film Dialogue from 2,000 screenplays, Broken Down by Gender and Age Lately, Hollywood has been taking so much shit for rampant sexism and racism. The prevailing theme: white men dominate movie roles. But it’s all rhetoric and no data, which gets us nowhere in terms of having an informed discussion. How many movies are actually about men? What changes by genre, era, or box-office revenue? What circumstances generate more diversity? We didn’t set out trying to prove anything, but rather compile real data. Let’s begin by examining dialogue, by gender, for just Disney films. In January 2016, researchers reported that men speak more often than women in Disney’s princess films.
This dataset isn’t perfect. Methodology For each screenplay, we mapped characters with at least 100 words of dialogue to a person’s IMDB page (which identifies people as an actor or actress). 2,000 Screenplays: Dialogue Broken-down by Gender All Genres Action Drama Comedy Horror How many screenplays have women as lead characters?
Curating the Feminist Library. History of Feminism. Women in Computing. Feminism & Digital Humanities. Feminism: Online Courses & MOOC's. Grassroots Activism & Online Feminisms. Feminist Fiction. Feminist Web Fiction. Feminist Art. Anti Feminism / Manosphere. Woman-being.