‘The kid is not my son’: Rejecting the adult in Boy (2010)

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This article examines how Māori director Taika Waititi rejects the ‘adult’ across his cinematic body of work, offering instead a vision of the world through the eyes of children, privileging whimsical and nonsensical humour to challenge conventional definitions of maturity and development. With reference to several theoretical conversations on the child’s perspective in film and a non-linear coming of age, this article addresses already established writings on Waititi’s films as sites of subversion; the rejections of the ‘adult’ are the key to developing these arguments. First, he rejects the ‘adult’ perspective, using a childlike, fantastical cinematic viewpoint to confront and eschew the social norms that pressure the child protagonists into replicating socially accepted ways of becoming and being ‘mature’. Second, Waititi offers alternative, non-linear paths of development that reject the generalization of the adult, siding instead with outsider characters that are shown to have ‘failed’ in the eyes of the society. Finally, an analysis of Indigenous development narratives, their influence on how the definition of ‘maturity’ is challenged and how this intersects with Waititi’s whimsical, childlike humour reveals a nuanced rejection of the ‘western’ adult inherent in traditional coming-of-age narratives.

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Book Review: Narrativeand the Cultural Construction of Illness and Healing
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C. Mattingley and L. Garro (eds) Berkeley, CA: University of California Press, 2000, 280 pp., $US 17.95 (paperback). This book is an edited collection of articles that explore the use of narrative analysis in Medical Anthropology. This collection arose from a symposium conducted by the American Anthropological Association. The contributors, however, come from a variety of disciplines including Anthropology, Sociology, Psychiatry and Psychology. The introductory chapter outlines the theoretical approach adopted by the editors. They note a growing interest within both medicine and anthropology in the analysis of narratives. In medicine, interest in narratives is seen as arising from an awareness of a need to incorporate patients' experiences within the diagnostic process, to foreground the human experiences surrounding illness. Medicine, for the authors, has become subjectless. A narrative approach allows for the restoration of the human subject permitting `a as well as a what, a real person, a patient in relation to a disease--in relation to the physical' (p. 8). The authors argue that, while this approach has long been evident within psychiatry, main-stream medicine has only recently begun to address these issues. The analysis of stories is not new to anthropology. The authors argue, however, for a recent trend towards viewing storytelling as a cultural performance, in structuralist accounts of the role of narrative. Narratives provide a means of making sense of individual experiences. They allow the narrator to recount what is of importance to them. They are also, however, enmeshed in, and reflect, culturally based constructive processes. They reveal the cultural norms and practices that surround the process of telling a particular story in a particular manner to a particular audience. The authors make a distinction, therefore, between the events and the social practices surrounding storytelling; between the story and the discursive presentation of events. This book, as a consequence, explores the tension between narrative as a reflection of the lived experiences of both patients and health professionals and narrative as a reflection of wider cultural norms, of the extent to which the stories patients and health professionals tell reflect other, often medical, discourses. The chapter by Hunt explores the use of narratives as a means of reconstructing identity after chronic illness in light of cultural norms surrounding gender. She explores the way in which those suffering from chronic illness use narratives as a means of reconstructing self and recreating identity in a manner that allows for self-empowerment. She interviewed a number of Mexican cancer patients who have had invasive surgery to reproductive organs. Each has suffered a disruption to their gender identity arising from loss of reproductive capacity. …

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The film Wadjda by Haifaa al-Mansour is a cinematic work that portrays the struggles of a young girl in Saudi Arabia as she navigates rigid social norms. In recent decades, Saudi Arabian society has undergone various social reforms aimed at redefining the role of women, including easing restrictions on education and social participation. This context is significant to analyze, as films often serve as a medium that reflects and critiques ongoing social dynamics. This study aims to explore how the film reflects the ongoing social reforms within Saudi society. Tzvetan Todorov's narrative theory outlines five stages: equilibrium, disruption, recognition, resolution, and new equilibrium. The method used is narrative analysis with a qualitative approach. Data were collected through observation of narrative elements in the film and analyzed based on Todorov's five stages. The analysis process includes identifying the initial equilibrium, the disruption faced by the main character, the recognition of the arising situation, efforts to remedy it, and the achievement of a new equilibrium. The results show that Wadjda begins with an equilibrium, where Wadjda lives a typical everyday life. Disruption occurs when Wadjda expresses a desire to buy a bicycle, which conflicts with gender norms in her society. Recognition of this challenge drives Wadjda to pursue her dream, ultimately leading to a positive shift in societal views on women. Through Todorov's narrative analysis, it becomes evident that the film effectively illustrates how small changes can spark discussions on women's rights and individual freedom within a conservative cultural context. This study contributes to the academic discourse on the intersection between narrative structures and social reform by providing a case study that applies Todorov's theory to Arabic cinema. It also highlights the significance of Wadjda as a cultural artifact that reflects evolving gender norms in Saudi Arabia, thereby enriching the understanding of how media serves as a lens for societal transformation. Despite its insights, this study is limited in scope as it focuses solely on Wadjda without comparative analysis with other films addressing similar themes. Additionally, the study does not consider audience reception, which could provide a deeper understanding of the film's societal impact. Future research could address these gaps by incorporating comparative studies or exploring the film's reception in both local and global contexts.

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Disability in Dialogue
  • Aug 22, 2023
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What would it mean to invite disability into dialogue? Disability in Dialogue attunes us to the dialogues of and about disability. In the pages of this book, we ask readers to consider the dialogic constitution of disability and to imagine its reformulation. We find the voices, bodies, social norms, visceral experiences, discourses, and acts of resistance that materialize disability in all its dialogic and enfleshed complexity: tensions, contradictions, provocations, frustrations and desires. This volume makes a unique contribution, bringing together authors from disciplines as diverse as communication, dialogue studies, psychology, sociology, design, rhetoric and activism. Because we take dialogue seriously, this book is designed to be brave as we examine the ways of being in the world that dialogic practices engender and allow, as well as beckon to continue. By way of a variety of frameworks, such as discourse analysis, dialogue studies, narrative analysis, and critical approaches to discourse, the chapters of this book take us through a polylogue of and about disability, demanding that we consider our own roles in bringing forth disabled ways of being and how we might, instead, choose ways that enable our common existence.

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