Kavyta K R

This chapter provides a critical overview of the debates on how new developments in the digital age, such as forms of social media, specifically social networking sites, are influencing the social, cultural, and geographical dimensions of young people’s friendships. As a distinctive aspect of young people’s lives, friendships are regarded as sites of companionship, support, and at times intimacy but can also be fraught with anxieties or difficulties. Social networking sites are new technological platforms that exist explicitly to facilitate the practice of friendship. However, there are diverse opinions in both the scholarly and popular literature on the extent to which these sites and other forms of social media are transforming the nature and meaning of contemporary friendship. A range of commentators also debate in sometimes quite polarizing terms whether the net effects of these new social media are positive and negative. This chapter explores how social media practices shape friendship for young people and argues that it is unproductive to take a binaristic view of the effects of social media as young people in the digital age are diverse in the ways they “do” friendship and in the ways they mobilize newer social resources that have opened up to them.

The nature of identities in terms of gender, ethnicity, culture and nation has been the subject of significant academic debate, particularly in postcolonial and feminist studies. In order to address the ways in which the contemporary generation of Trinidadian women of Indian descent negotiate issues surrounding identity, it is necessary to interrogate the
terms of this debate and redefine key concepts in ways, it is hoped, that may help to expand its scope, as social categories such as “race” and ethnicity, among others, are continually negotiated and contested under new theoretical shifts in postcolonial theory and poststructuralist theory which emphasise fluidity rather than fixity. This paper reviews ways of understanding the female Indian experience in terms of “diaspora", “ethnicity”,“hybridity”and “hyphenated identities”. It seeks to show that essentialist conceptions of gendered and ethnicised identity are non-productive and that ultimately, the identification of oneself as female, Trinidadian, Indian, or Indo-Trinidadian can be read as discursively constructed.

Since the worldwide theatrical release of one of the most talked about films of 2015 on Valentine’s Day weekend, Fifty Shades of Grey has continued to generate immense interest, much as the novel did when first published in 2012. Some of the main sticky points raised, amidst the soaring box office collections, were the flummoxing popularity of the novels and film, a dull plot, lack of chemistry between the protagonists, and the contested representations of gender and sexuality. This article is premised on the idea that female sexuality and female-focused erotic pleasure, in the context of Hollywood cinema, is a contested terrain which throws more shade and less heat to the latter. In this paper, I show that the film’s inability to convey female sexuality and pleasure as an experience rather than ‘to-be-looked-at’ is indicative of the gender politics of Hollywood which legitimises hetero-sexist tropes as I claim the Fifty Shades film does under the guise of a love story. I demonstrate that this film adaptation, while mainly targeted towards a female audience, invariably reifies and upholds the dominant cinematic framework of Hollywood, and that is the male gaze (Mulvey 2003)

In recent times, there has been an emerging movement of menstrual activism on social media that attempts to address the absence of positive representations of menstruation. I am drawn to the collective feminist project of challenging and eradicating stereotypes of women’s bodies by exploring how social media, whether through blogging or posting pictures, has allowed young women to cast normal female bodily processes in a more positive light. If for many years, staining has signified shame, it can be said that 2015 was the year periods went public in a social media movement that seeks to discuss and deconstruct the stigmas stuck to menstruation.

https://feminisminindia.com/2017/05/30/menstruation-media-concealment-celebration/

This chapter explores the complex interplay of meanings and the discursive practices of race inherent in the erotics of Olitz - a hashtag that largely promoted or 'shipped' the televisual pairing of Olivia Pope and Fitz Williams in the TV show Scandal. This also explores Olivia’s raced and gendered sexuality working silently and steadily throughout the show, in a way that challenges one-dimensional, stereotypical depictions of Black women on screen and this gradually unravels in the eroticized Olitz relationship.

This book takes a journey into the new and exciting created by a the wave of Indian comedians today, described affectionately here as the New Indian Nuttahs, and looks at what these tell us about identity, “Indianness”, censorship, feminism, diaspora and millennial India. It provides a unique analysis into the growing phenomenon of internet comedy and into a dimension of Indian popular culture which has long been dominated by the traditional film and television industries. Through a mixture of close textual readings of online comedy videos and interviews with content creators and consumers in India, this book provides a fresh perspective on comedy studies in its approach to a global South context from a sociocultural perspective. As a protean form of new media, this has opened up new avenues of articulation, identification and disidentification and as such, this book makes a further contribution to South Asian, communication, media & cultural studies.

This chapter sets up the national event of Carnival in Trinidad as a contested space of liberation and tradition. It explores the intersections of gender and race for a group of young Indian Trinidadian women and highlights the ways in which agency, articulated as sexual liberation and ‘free-up’, is enabled and disabled in relation to mas performance.

There has long been a refusal to regard race as a legitimate category of analysis in higher education, whether from a scholarship or policy perspective. The recognition of the role that universities have played in (re)producing racial injustice is one that is being gradually taken up by scholars who challenge this ignorance by drawing attention to racialised cultures and practices. As a BAME early career researcher who has found herself at various points in her working life at these charged junctures, it is my firm and absolute belief that these conversations are overdue. Though HE is broadly regarded as a liberal and progressive space, I offer a counter-narrative in locating myself in this environment and in which racial microaggressions (Pierce, 1969) are the norm in order to "keep those at the racial margins in their place." (Pérez Huber &Solorzano, 2015). Methodologically guided by an autoethnographical narrative, this paper seeks to illustrate some of the ways in which race is experienced through teaching and working in HE institutions with a specific focus on South Asian descent academics. There is gap in the literature on this as well a limited understanding of the diversity of the ethnic category of South Asian in Britain which is often conflated with an even more limited understanding of Muslimness. As a South Asian descent and ethnic minority woman working within a system where diversity, in its ideological sense signals conformity to whiteness, I elaborate the diffuse ways in which I have experienced race through teaching and working in a broader socio-political context in which discourses on the doing of diversity and decolonization are becoming increasingly charged in the public sphere.