Alphaville: Journal of Film and Screen Media. Issue 09: Deviate!

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https://hdl.handle.net/10468/5575

Prescribing Deviate! as a special theme is not to suggest that to deviate must always be an inherently radical action: deviational change often presents as a slight shift or a series of such shifts and transitions. Hence, the moving image is rethought and reworked incrementally; these small, persistent changes giving rise to new ways of seeing the world, which enhance our understanding of it and often challenge that understanding. Edited by Jill Murphy and Nicholas O'Riordan, University College Cork.

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Now showing 1 - 5 of 5

Men’s Cinema: Masculinity and Mise en Scène in Hollywood, by Stella Bruzzi
(Film and Screen Media, University College Cork, 2015) Murphy, Ian; Power, Aidan
BAFTA 2015: Film Craft Sessions
(Film and Screen Media, University College Cork, 2015) Graves, Jake Martin; Coatsworth, Conan; Odorico, Stefano
Political Cinema in the 21st Century: The Radical Film Network Inaugural Conference, Birmingham City University, 7–8 February 2015
(Film and Screen Media, University College Cork, 2015) Zarins, Kelly; Odorico, Stefano
Beyond the Screen: Emerging Cinema and Engaging Audiences, by Sarah Atkinson
(Film and Screen Media, University College Cork, 2015) Wroot, Jonathan; Power, Aidan
The taming of the Bronies: animals, autism and fandom as therapeutic performance
(Film and Screen Media, University College Cork, 2015) Pramaggiore, Maria
In defining and defending the Brony fandom, scholars and journalists emphasise the way these primarily adult male fans of My Little Pony: Friendship is Magic challenge traditional gender norms. These accounts fail to examine the significance of the horse to the Bronies’ bid for non-normative masculinities. This article focuses on the implicitly therapeutic function of the animated equine, reading the fandom’s discourse about itself in two documentaries within the context of a contemporary (and often antifeminist) rhetoric that links adolescent masculinity to forms of disability that are ameliorated through Equine Assisted Therapy. This therapeutic resonance—based on the characteristic movement of horses—is situated within a broader history of cinema and visual culture in which horses have typically been recruited as vehicles of physical and psychic transport.

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