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Sexual urges exist, but must be repressed. This repression is a sign of commitment and love Bella, however, is more modern than Edward, and attempts sleep with him without consenting to marriage. While promoted as a sign of love, this repression can also be compared to signs of an abusive relationship. Her undying affection toward him could be seen as an abusive relationship—her self-worthlessness prevents her from leaving her partner, since she feels that she will never deserve better. Vampires, through an essence of sexual nature, also depict the deepest and darkest regrets of a relationship, signifying the underlying desires that preteens and teens may not have realized existed.

She gets every guy she wants, and even has several fighting for her attention at a time. Early in the show, a main character named Vicki Donovan gets trans-formed into a vampire. She becomes the empowered woman that is sexually aggressive. Jessica Hatch states:. She becomes the stereotypical uncontrollably powerful woman. Vampire urge is derived through the female protagonist, and the way she allows herself to do whatever she wants with her body.

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However, Elena yearns for the attention of Damon and Stefan, allowing herself to be under their control, meaning that she has no real power over her sexuality; it is still in the hands of the two vampire brothers. Thus, post-feminism sends multiple mixed messages, making the woman seem like she is in power when she is truly just an object of male attention. The show expresses this through the main character Sookie Stackhouse, who begins the series as a virgin and the audience witnesses her sexualization thru womanhood.

She is a humble girl from a humble family working as a waitress in the middle of Louisiana. Gray states: Even Sookie, the blond, virginal innocent, departs substantially from Bella. In fact, she becomes emboldened, asking for what she wants in and out of bed, allowing and thoroughly enjoying being bitten by her vampire companion.

Twilight: Changing the Business and Culture of Contemporary Cinema

She moves much more quickly into sex compared to the other shows, since it is aimed at a more adult audience. Sookie has begun the transformation into adult womanhood and is thus able to move more quickly through her sexual experiences, making her more relatable to her target audience.

He states:.


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Bella is weak and defenseless. She has to be rescued on a daily basis. At times she can even be absent minded. Edward is dark, control-ling and strong. He is always there to save his damsel. Young women cannot fend for themselves, or make choices on their own, and need to wait for a man to save them from their distress.

Bella and Edward end up having sex that hurts her tremendously, showing girls that it is okay to be beaten up in the process of showing someone you love them. Carmen Gomez-Galisteo states:. It all ends up present a picture of love as full of sacrifices and personal renunciations for women.

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Even more harmful, being more than willing to make costly personal sacrifices, and losing friends in the process are seen as indicators of love. The saga convinces preteens to idolize over a perfect fantasy man who they must devote their entire life to. Bella must change the very essence of who she is in order to be with Edward forever. She would die as human and he would live on, so naturally the only way to stay would have to be turning into a vampire—and thus relinquishing all human rights to her friends, family, and any normal existence she may have had, all for that of a man.

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The story points preteens to the role of being a damsel all their life, rather than become the empowered females that they have every right to be. Regardless of what happens to her during the show, her male boyfriends still control her. Camilie Johnson writes:. Elena encompasses the gender stereotype that most women still feel today—that they will never be as equal as men, even when given the same amount of rights. You start by submitting an abstract by e-mail. This seemed the perfect culprit, though perhaps not the most accessible due to its book adaptation background and under-the-radar context as a movie.

So I submitted an abstract. It had to be words long and give a good idea of the argument, the scope of the focus and possible secondary sources that would be used as research. And within a few weeks I got a response back. The process has taken a little less than two years. The deadline for abstracts was May 20, , the notification of acceptance was June 1, first drafts were due December 1 and final drafts were due March 1, The collection was then delivered to the publisher, Bloomsbury, in May last year and is now set to be published on February 27 this year.

That process is fairly standard, although subject to change, and always starts with a rough draft. Subsequent multiple viewings of the movie and lots of reading about the book, as the movie has received very little scholarly research, resulted in 5, words that approximate an argument. This was the required length, with some leeway to be words shorter or longer, including the footnotes and the bibliography.

After submitting it to the editors via email, I got it back a month later with comments and suggestions in the margins. Nothing springs from your mind fully formed and perfect, you need outside eyes and the humbling revelation that perhaps someone with more years and experience knows better. This all sounds a little complicated, and it is.

Not everyone has been to grad school and been inundated with research. But the vital takeaway here is forming relationships.

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It was a very similar form of call for papers, but this time the subject was writing on horror movies that have a supernatural element specifically dealing with higher powers, the afterlife and the presence of these paranormal beings on earth. I chose to write about the Spanish found-footage horror movie [Rec] and its American remake Quarantine , discussing the religious aspects in each.


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Needless to say, due to the more populist appeal of these movies and the zombie subgenre this essay would be more readable for Joe Sixpack. Having built up a bit of a portfolio, I went looking for other call for papers. That book included only one essay on the J. And since I had already written for two anthologies, I had the appropriate background now.

A month or so later he emailed me the call for papers directly, but it also went up on H-Announce , a site devoted to easy access to call for papers. This time the abstract could only be words, but also needed to include a page CV, a resume including projects and publications. I decided to write about Star Trek into Darkness , the much maligned second entry in the series, and emailed my abstract out into the void.

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