Suchergebnisse

In this article, I put Carlos Reygadas' prize-winning art film, Stellet Licht, to use for Law and Film purposes. Stellet Licht (or Silent Light) is the first film made in the medieval German/Prussian dialect, Plautdietsch (or Low German), and filmed in an Old Order (very conservative) Mennonite colony in Mexico. Viewers of Stellet Licht must be prepared to be contemplative because the film often eschews dialogue or action in favour of contemplation. This fictitious film invites us to contemplate a heterosexual love triangle and provides a novel site for thinking about how law and patriarchy can unconsciously work in our lives. When we do the contemplative work invited by the film, we not only see law differently, but we can also imagine miraculous reconciliation between people.

A feminist interpretive approach to mediation metaphors reveals the feminist jurisprudence in two cooking and conflict resolution films. Chocolat and Fried Green Tomatoes both feature strong female mediators "disguised" as cooks who help others resolve their disputes. Chocolat and Fried Green Tomatoes construct women mediators as feminist heroes and offer feminist jurisprudential commentary. The films' jurisprudence demonstrates that different kinds of feminism can successfully work together and that the power of patriarchal master narratives can be resisted by employing mediation instead of turning to law. The women mediators in Chocolat and Fried Green Tomatoes maintain their ambitions, obtain legitimacy in the midst of patriarchy, use talk as a resistance technique and narrative as a way to mediate power dynamics, and, in so doing, emerge as fun, feminist heroes.

"This collection examines law and justice on television in different countries around the world. It provides a benchmark for further study of the nature and extent of television coverage of justice in fictional, reality and documentary forms. It does this by drawing on empirical work from a range of scholars in different jurisdictions. Each chapter looks at the raw data of how much 'justice' material viewers were able to access in the multi-channel world of 2014 looking at three phases--apprehension (police), adjudication (lawyers), and disposition (prison/punishment). All of the authors indicate how television has developed in their countries. Some have extensive public service channels mixed with private media channels. Financing ranges from advertising to programme sponsorship to licensing arrangements. A few countries have mixtures of these. Each author also examines how 'TV justice' has developed in their own particular jurisdiction. Readers will find interesting variations and thought-provoking similarities. There are a lot of television shows focused on legal themes that are imported around the world. The authors analyse these as well. This book is a must-read for anyone interested in law, popular culture, TV, or justice and provides an important addition to the literature due to its grounding in empirical data."--Bloomsbury Publishing

In this article we engage with the writings of feminist scholars Sandra Gilbert and Susan Gubar, whose landmark work The Madwoman in the Attic critiques the image of the female madwoman or monster. We use Gilbert and Gubar's thesis of the female monster as the primary analytical framework for excavating three variants of female madness as depicted in three films: madness as neurosis using Laws of Attraction; monstrosity as ambition using Michael Clayton; and madness/monstrosity as failed motherhood using I Am Sam. Our goals for this article are to explore the ways in which popular films featuring female lawyers channel the "madwoman/monster" metaphor; trace those characters in terms of neuroses, ambition, and motherhood; and argue for the possibility of reconfiguring the notion of "madwoman" as a valid and meaningful mode of female subjectivity that expands the field of possibilities for women lawyers.