ABSTRACT The single-mother figure shows up in myriad American film genres, and my thesis explores three of these genres, maternal melodrama, film noir, and horror. I argue there is a melodramatic mode that carries over from maternal melodrama to film noir and horror. This mode emphasizes emotional excess. In maternal melodrama, the emotional excess is pity. For film noir, the emotion is anxiety, and in horror, it is repulsion. Even though each genre has its own emotional excess, maternal melodrama still speaks to these other genres through its maternal sacrifice, non-heteronormative families and misreading of proper gender performances. For this reason, I intentionally begin with classic maternal melodrama, wherein conventional gender roles, heteronormative familial structures, and mother-daughter separation are standard features. In Stella Dallas (King Vidor, 1937), Stella misreads what "proper" femininity looks like. As a result, she believes she is "bad" for her daughter, Laurel, and makes the heart-wrenching decision to sacrifice Laurel to a traditional nuclear family. The other films I chose extend Stella Dallas' interest in gender roles, kinship structures, and mother-daughter separation but also subtly change the maternal melodrama's relationship to heart-wrenching sacrifice. In each of three chapters, I explore Michael Curtiz's film noir Mildred Pierce (1945), Douglas Sirk's melodrama Imitation of Life (1959) and William Friedkin's horror film The Exorcist (1973). After examining the standard features of maternal melodrama in Stella Dallas, I begin to explore them in other genres that focus on one of the three ideas more predominantly. These ideas are gender roles, kinship structures, mother-daughter separation. This does not mean that each film is limited to only one idea. All of the films address gender performance, familial structure, and mother-child separation, but I let each film take the lead on one of the three ideas. In Mildred Pierce, I explore gender performance. Mildred performs masculinity and femininity depending on whether she is in the public or private sphere. Imitation of Life takes the lead on alternative kinship. The film illustrates how two single mothers create a economically viable non-heteronormative interracial family. I conclude with The Exorcist and the possibility that the mother and child do not need to separate like Stella and Laurel. The Exorcist challenges what has long been considered a necessary process. This is the only film that successfully keeps mother and child united. I believe this project draws attention to the lack of analysis of single mothers in American film, but more importantly, it makes us rethink motherhood. The single mother privileges a certain approach to gender performance, familial structure, and mother-child separation that feminist theory and film studies have overlooked. This approach includes a masculine gender performance to perform as a father, disrupting the heteronormative familial structure to make it work for them, and mothers maintaining a relationship with their adolescent daughters.

In this thesis, I look at the mobilization of the domestic workers in Brazil as a social movement. In Brazil, the domestic workers have managed to organize continuously for over eight decades using both informal and formal mechanisms to connect workers all over the country in unique ways. By viewing these women and the ways in which they have organized in the framework of a social movement, we can begin to identify their repertoires of contention and how those repertoires have contributed to the successes of the movement. In order to guide this investigation, I ask, how has the doméstica movement in Brazil been successful in reducing the vulnerability of domestic workers? Throughout the development of the domestic workers movement in Brazil, the participants have shaped their repertoires of contention to embody their intersectional narrative and conceptualized it to reduce the vulnerability of domestic work. I argue throughout this work that, as the movement became more successful and better organized, the vulnerability of domestic workers declined. I consider this vulnerability to be a combination of informality associated with the profession for domestic work and the lack of legal protections which apply to domestic workers. This work is a single unit case study analyzing solely the doméstica movement in Brazil from the mid-1930s to the present. I gauge success primarily using two types of within-case observations: 1.) process-tracing through the historical trajectory of the movement to understand the development of the repertoires of contention within four distinct waves of organizing; and, 2.) comparative analysis of official statistics on indicators of the level of informality associated with domestic work.

Homophobia and prejudice against the lesbian community have been argued to be consequences of lack of education within academic and non-academic spaces. This study introduces a pedagogical model of gendered lesbian identity that can act as a tool for educators to understand lesbian experiences, and thus contribute to addressing issues related to homophobia and prejudices in the classrooms and beyond. Based on thematic analysis of data generated by a qualitative online survey of 29 participants, this study argues that notions of social norms, individual agency, and importance of advocacy are critical points of emphases in the proposed educational model. Although the model may be seen as a pilot study, its experiential and theoretical foundation should make it a novel and simple pedagogical tool in teaching lesbian identity.

Care is socially constructed, shaped by expectations embedded within particular relationships and the culturally-specific understandings of what it means to work, love and suffer. In this dissertation, I conceptualize care as a fundamental component of everyday life in which individuals are oriented towards the needs of others. Drawing on ethnographic fieldwork in a rural Konkomba community in northern Ghana, I explore the geographies of care shaping the everyday experiences of women engaged in intergenerational relationships as they encounter emerging dependencies associated with ageing. Dependencies emerge when an individual requires support and care from another, and in turn the struggles for, and the provision of this support has material and emotional implications for those involved. I make three primary contributions. First, I examine the potential for a feminist ethics of care within livelihoods approaches in order to destabilize notions of independence and material outcomes, arguing that livelihood strategies are characterized by interdependencies within families and communities. Second, I contribute to an understanding of the politics of care by considering women's mobility in the face of competing demands on their labor and resources. Despite responsibilities to provide a 'good death', women experience social and material hurdles to negotiate their mobility in order to provide end of life care to a parent. Third, I explore the embodied emotional experiences of elderly women as they experience dependencies and struggle to engage in material exchange and caring relationships. As a result of these emergence of dependencies, women's everyday lives are deeply shaped by experiences of love and suffering. In northern Ghana, as in other rural agrarian communities in developing regions, the elderly population is growing and a weak formal care infrastructure is ill-prepared to face the pressures of an ageing population. Through this dissertation, I highlight the complex geographies of care shaping everyday life experiences and contribute to an understanding of the particular issues faced by communities where intergenerational relationships are key to lives lived with care.

Prior to the advent of modern birth control beginning in the nineteenth century, the biological reproductive cycle of pregnancy, post-partum recovery, and nursing dominated women’s adult years. The average birth rate per woman in 1800 was just over seven, but by 1900, that rate had fallen to just under than three and a half. The question that this dissertation explores is what cultural narratives about reproduction and reproductive control emerge in the wake of this demographic shift. What’s at stake in a woman’s decision to reproduce, for herself, her family, her nation? How do women, and society, control birth? In order to explore these questions, this dissertation broadens the very term “birth control” from the technological and medical mechanisms by which women limit or prevent conception and birth to a conception of “controlling birth,” the societal and cultural processes that affect reproductive practices. This dissertation, then, constructs a cultural narrative of the process of controlling birth. Moving away from a focus on “negative birth control”—contraception, abortion, sterilization—the term “controlling birth” also applies to engineering or encouraging wanted or desired reproduction. While the chapters of this work often focus on traditional sites of birth control—contraceptives, abortion, and eugenics—they are not limited to those forms, uncovering previously hidden narratives of reproduction control. This new lens also reveals men’s investment in these reproductive practices. By focusing on a variety of cultural texts—advertisements, fictional novels, historical writings, medical texts, popular print, and film—this project aims to create a sense of how these cultural productions work together to construct narratives about sexuality, reproduction, and reproductive control. Relying heavily on a historicizing of these issues, my project shows how these texts—both fictional and nonfictional—create a rich and valid site from which to explore the development of narratives of sexuality and reproductive practices, as well as how these narratives connect to larger cultural narratives of race, class, and nation. The interdisciplinary nature of this inquiry highlights the interrelationship between the literary productions of the nineteenth and twentieth century and American cultural history.

This paper is part of the academic effort to recover historical memory in post-Civil War Spain and metaphorically applies the so-called Giobert Tincture to Carmen Martín Gaite’s El cuarto de atrás (1978), Dulce Chacón’s La voz dormida (2002) and Pedro Almodóvar’s La mala educación (2004) in order show how these works reveal the ghosts of the repression exerted against the epitome of the abject/obscene by Franco’s dictatorship: the queer collective. This collective continues to suffer from marginalization as well as from the effects of repression. I argue that El cuarto de atrás reveals C.’s repressed hybrid/queer identity and sexual orientation, that La voz dormida reveals Tomasa and Reme’s homoerotic/queer relationship and that La mala educación reveals in the form of cross-dressed/hybrid bodies how gender performativity is based on the repression of generic and sexual identity. First, I analyze the historical and artistic-cultural context of the selected works. Second, I outline the methodology and poststructural theoretical concepts that frame my thesis. Although the following chapters develop an episodic structure, a comprehensive reading of the paper provides a holistic perspective of the repression of queer people and its palimpsestic-spectral representation in the works of the above-mentioned authors.

In 2012, the Entertainment Software Association announced that 47% of all game players are women. Before this statistic came out, it wasn't a surprise that girl gamers existed but the fact that this supposed 'minority' almost shared equal parts with the majority was used as a catalyst for the types of gaming environments we have today where females are faced with sexism, patriarchy, and other various forms of prejudice. This, in turn has initiated both positive and negative discourse and has perpetuated social change in the video game community. This is my response...

This thesis is an in-depth analysis of beauty ideals in South Korea and India. These two countries have recently turned to skin lightening and cosmetic surgery in order to achieve their new beauty standards. Not only do these two countries share a propensity for those two trends, but they also have an overwhelming majority of the population that identifies with a specific religion; Hinduism in the case of India and Confucianism in the case of South Korea. However, it is not clear that the current beauty ideal in each country aligns with the beauty ideal set out in the respective foundational religion.

This thesis explores how today’s Sheherazades, in this case women photographers from the Middle East, create alternative representations that constitute new meanings and understandings of life, gender, and politics in Iran and the Arab world.

This paper is an in-depth analysis of music artist Beyoncé Knowles's career in relation to female autonomy and sexuality. It delves into the symbolic annihilation of an accurate portrayal of female sexuality in the media and how that translates to young women being misinformed about their own sexual pleasure and satisfaction. This misinformation and its effects on the sexual experiences of college-aged women are demonstrated through a series of original creative short stories.