Q3 Issue 2: Identity

figure 1. identity

figure 2. attraction

ISSUE 2: IDENTITY

figure 3. sex

CONTENTS

3 5 7 9 11 13 15 17 19 20 21

The Craft: Witchcraft as a source for female empowerment

Eleanor Parkyn interviews a Priestess about witchcraft and feminism

Bisexual Erasure Saoirse O’Connor discusses the stigma surrounding bisexuality

Queer Eye For The Straight Guy Jess Keast-Towns discusses LGBT+ representation in pop culture

No Tea, No Shade, No Pink Lemonade Sadia Pineda Hameed on how drag changes our notions of identity

What Feminism Means To Me We asked our contributors to answer

Manning Up Mike Leitch discusses the male identity crisis

Living with Dissociative Identity Disorder Charlie Knights writes about his experiences with DID

Fashioning an Identity Stephany Damyanova reveals the link between clothing and identity

Bias Begins Courtney Bridge discusses the dangers of stereotypes

Shaping Identity Through Film Oliver Leigh tells us about the film that changed his life

The Leslie Knope Compliment Generator This issue’s quiz involves nice words from our Parks & Rec hero

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THE IDENTITY ISSUE EDITOR’S NOTE Editor Eleanor Parkyn Head of Design Eleanor Parkyn Contributors Charlie Knights Courtney Bridge Dominika Kusnierska Emily Murray Hannah Hopkins Harriet Thornley Isobel Roach Jess Keast-Towns Kate Eagleton-Etheridge Mike Leitch Oliver Leigh Sadia Pineda Hameed Saoirse O’Connor Stephany Damyanova Illustrations Sarah Thompson Eleanor Parkyn Proofreaders Beau William Beakhouse Sadia Pineda Hameed Saman Izadyar Sarah Thompson Special thanks to: Sarah Thompson for her fab illustrations; Heidi Wurst and Cristina Pandolfo for allowing us to interview them; and all the people who have helped make this issue so special!

Who am I? Each and every one of us has an identity. It’s something that both unites us and tears us apart; we as people have been known to gather with those similar to us and oppose those who differ. Stereotypes of identities that we cannot change, such as gender identity, race and sexuality are perhaps the most commonly opposed areas; a fact that, while finally addressed and challenged nowadays, is still a long way off from reform and equality. It is through discussion and education that prejudice towards different identities are confronted and, in time, changed. Therefore, it was not a difficult decision to make the second ever issue of Q3 about this topic; identity. If a platform is provided for you, then it must be used to speak out for the benefit of those who you identify with, and in some cases, those less privileged than yourself. Without this discussion, change and development cannot happen.

As people say, university is a time for discovery, for trying new things and ‘finding yourself’. Each of us wants to fit in- but all of us also want to stand out. Finding the balance can be tricky, and the way we express our identity also shapes our identity. In this issue our two main features involve an interview with a witch, and an interview with a drag queen; both of which are individuals who have chosen a way of identifying themselves, aside from the minority identities that they were born with. Exploring these forms of identity can be fascinating, and we hope that you enjoy reading them as much as we loved discovering them.

Identity is such a personal thing, and writing in general about identities can be difficult and problematic, so I will leave you with the final thought: Never stop fighting for who you are, and who you want to be.

-ELEANOR PARKYN, EDITOR

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THE CRAFT: WITCHCRAFT AS A SOURCE OF FEMALE EMPOWERMENT

ELEANOR PARKYN INTERVIEWS INITIATED WITCH AND PRIESTESS, CRISTINA ‘DIANARA’ PANDOLFO, ABOUT WHAT IT MEANS TO BE A MODERN DAY WITCH, AND HOW IT EMPOWERS WOMEN. 3

‘Witch’. The word probably conjures up images of an old warty woman cackling over a cauldron, or flying off on her broom sporting a hat and cloak. But while the concept of the witch might be bundled in together with the other paranormal beings we dress up as for Halloweenlike vampires and werewolves- witches and witchcraft have long been a part of our own reality. However, the difference here is that the fear we have been taught to hold in regards to witches comes less from their apparent supernatural powers, and more from their very real powers of femininity. Although there are males who identify with the term ‘witch’, the image of a witch is first and foremost that of a woman, meaning that the persecution of witches is a direct attack on women too. While the Western world hasn’t seen the persecution of witches since the 18th Century, when 200,000 were tortured, burnt or hanged over a 300-year period, the attack on women has yet to end. Nevertheless, the symbol of the witch has prevailed, constantly subverting the norm and challenging the patriarchy that has sought to destroy it- a true feminist icon!

While the modern witch may be a far cry from what we have come to associate with witchcraft; with the influx of Tumblr and Instagram ‘witches’, who prioritise the aesthetic over the practice with their black lipstick and pentagram pendants, the feminist connection still continues. And although this look may seem to reinforce the stereotypical notions of witchcraft sitting on the side of evil, each aspect is in line with the Wiccan beliefs; the colour black symbolises protection, and the five points of the pentagram represent each of the five elements. In fact, nature and the elements is perhaps the key focus point for most involved in the craft, as it is seen as sacred.

The themes of nature and nurturing that are central to most practicing witches further reinforces this link to femininity, as the connection between women and nature has always been apparent.

But why turn to witchcraft for your sense of empowerment, when we have feminist icons in popular culture already, you may ask!? Cristina Pandolfo, aka ‘Dianara’, an initiated Witch and Priestess ordained in the Dianic Tradition, which is a female focussed spiritual path, incorporating Goddess worship, states that women have a “fundamental role” within witchcraft, and that it “helps women to rediscover the female power which has been suppressed by millennia of patriarchy”. Women are increasingly turning to witchcraft due to this option of worshipping female Goddesses and deities, and themselves becoming Priestesses, which they would perhaps not have the opportunity for when following other more traditional forms of Western religion. This also extends to people who identify as LGBTQ+, who may feel unwelcome in certain religious communities, as many queer individuals have also now embraced the empowering nature of Neopaganism and witchcraft, which allows you to seek the Gods or Goddesses with whom you personally feel the deepest connection. Cristina’s idea of the patriarchy being the cause of women seeking empowerment through witchcraft is echoed amongst self-identifying witches

far and wide. Most notably is that of Starhawk, author of ‘The Spiral Dance’, a best-selling book on Neopagan beliefs, in which she writes “to be a witch is to identify with nine million victims of bigotry and hatred, and to take responsibility for shaping a world in which prejudice claims no more victims”. Similarly, Tarotscopes creator Marty Windahl suggests that witchcraft allows for women to partake in all the things a woman is told she should not by the dominant culture, by utilising what women are told are signs of weakness, such as “emotional sensitivity, or a menstrual cycle”, and using them as “tools” to aid spells and readings. As an Esoteric Herbalist, or ‘Green Witch’, Cristina argues that a deep connection with the earth through witchcraft can “help to heal the ancestral wounds inflicted upon women (and men) by the overpowering and cruel male-rule”.

“WITCHCRAFT ALLOWS FOR WOMEN TO PARTAKE IN ALL THE THINGS A WOMAN IS TOLD SHE SHOULD NOT BY THE DOMINANT CULTURE” The 20th Century saw Witchcraft transcend from a religious practice to a far more politically motivated movement, driven by this innate sense of female empowerment. The women’s liberation movement in America during the 1960s, for example, saw the rise of the Women’s International Terrorist Conspiracy from Hell, or W.I.T.C.H. Although the groups were primarily socialist feminists, the witchy connection is obvious, and many of the leading members followed the feministoriented forms of modern Paganism, such as the Dianic Wicca that Cristina practices. Witchcraft is certainly not exclusive to women though, in fact around half are men, but it is perhaps this gender equality that draws women to witchiness. And despite the fairly equal gender divide, most ‘covens’ are female-only communities that solely worship female deities, reflective of those we have come to know from media depictions of witchcraft, such as ‘The Craft’ and ‘American Horror Story: Coven’. Cristina states that the media depictions of witchcraft are “unrealistic” due to their focus on the supernatural, and negative “religious superstitions”.

Although many modern witches are involved in tarot readings and herbalism, she states that witchcraft is primarily about self-improvement, as it “puts you in charge of your own life, challenges your boundaries and beliefs, making you face fears and the consequences of your actions, and leads you to wisdom and awareness”.

Ultimately, she argues, it is about “self-love and selfacceptance, and the belief that the divine is within, rather than outside, yourself ”.

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BISEXUAL

ERASURE

THE STIGMA SURROUNDING BISEXUAL PEOPLE HAS CONTINUALLY REINFORCED STEREOTYPES WHICH ERASE THEIR HUMANITY AND FUEL THE HARMFUL DENIAL OF THEIR EXISTENCE. SAOIRSE O’CONNOR DISCUSSES.

B

i-sexuality is sometimes referred to as a halfway house: one foot straight, one foot gay. Existing in a sort of no man’s land, belonging nowhere. Not gay enough for the LGBT+ community and not straight enough for everyone else.

This is a very a pessimistic view of being a modern bisexual and one that many bisexuals would say is inaccurate, but every bisexual that I know has at some point had to answer one of the following questions: ‘what’s the difference between sex with men and women?’, ‘which do you prefer, men or women?’, ‘who will you end up with, a man or a woman?’ and of course not forgetting the old tune ‘would you have a threesome?’. Often I don’t mind answering these questions; I understand the curiosity and if answering a few questions helps with bi-visibility and LGBT+ education, it’s a small price to pay. However, often these questions aren’t just invasive, they are justifications, they are choices, they are asking to pick a side.

So, what is bisexuality? Well, put in the simplest definition, it’s being attracted to two genders. Obviously. Typically, that’s being attracted to male and female, but this is not exclusive. Gender, like sexuality, is fluid and there are some who would say they are attracted to those who identify as something other than male or female and would still class themselves as bisexual. Like anything as personal as sexuality, which labels to apply is completely subjective to the individual.

There are certain stereotypes associated with bisexuality, and as is usually the case with stereotypes, these are damaging to both those who use them and those who they are applied to. I am going to try to address the stereotypes and show how they are damaging to bisexuals and contribute to the overall detraction of their validity. So here is a quick and easy guide to your bisexual stereotypes, and why they are wrong.

‘Bisexuals are just gay people hiding’. Well no. This is a stereotype that I have heard both LGBT+ people and straight people use, and my answer to them remains the same; what does the B in LGBT+ stand for. Bisexuality is not an excuse or a cover for anyone- yes there may be those who originally identify as bisexual and later decide that the best label that suits them is gay, but that does not detract from the validity of bisexuals, nor should it.

‘Bisexuals are always up for sex, and will thus cheat’. This one is not just damaging; it’s insulting. Bisexuals are no more likely to cheat than anyone else, and want sex no more than the average individual. Bisexuality is no more than the possibility of attraction to more than one gender, not that attraction will happen or that attraction will be acted on. There is of course a scientific reason for this, namely that bisexuals are people. With brains. And feelings. This stereotype dehumanizes bisexuals and assumes them to be nothing more than sex-obsessed humanoids with no feelings or agency of their own. The damage that this inflicts should, in my mind, be obvious; how much harder is it to enter into a relationship when there is the possibility that your partner constantly thinks that you are going to cheat? Or even if you think your partner believes this stereotype, how can you tell them your sexuality? Trust instantly becomes much harder.

“BISEXUALITY

IS NOT AN EXCUSE OR A COVER FOR ANYONE- YES THERE MAY BE THOSE WHO ORIGINALLY IDENTIFY AS BISEXUAL AND LATER DECIDE THAT THE BEST LABEL THAT SUITS THEM IS GAY, BUT THAT DOES NOT DETRACT FROM THE VALIDITY OF BISEXUALS, NOR SHOULD IT”

“You’re bisexual? Oh my god, I’ve been looking for someone to have a threesome with.” This one I have always thought is more complicated than it first appears. Some bisexuals I know have no problem with being asked this. As someone who is attracted to more than one gender, perhaps it is fair enough to think that they will be your best bet for a third person to have sex with. Maybe that is fair, what’s not is the assumption that every bisexual is ‘up’ for a threesome. I asked some friends of mine their thoughts and there was a pretty even split. Around half thought that bisexuals would be up for a threesome, with the other’s thinking it came down to the individual.

All the bisexual’s I spoke to thought that the statement was a massive generalisation, and agreed that the stereotype was damaging. My major problem with the stereotype is I think it feeds into the idea that bisexuality is almost a kind of nymphomania. That all bisexuals want sex, all the time. That idea is clearly harmful for the reasons I have already discussed, some bisexuals are happy to have threesomes, or just want sexual rather than romantic relationships, the same way there are straight and people within the LGBT+ community who would do the same. Bisexuality is not causation to these decisions, it’s a personal choice.

These stereotypes are why we need to actively see more bisexuals in the media. By that I don’t mean women who have sex with girls and then go back to guys, or even who sleep with both. We need to see bisexual men, bisexuals in same sex relationships, bisexuals in hetero relationships, bisexuals who are nervous and don’t sleep around, bisexuals who do.

Crucially, we need to see people stating as a fact that they are bisexual, because I have never heard a character actually identify as bisexual. We see characters who are obviously attracted to more than one gender, but I cannot think of a time the word bisexual has been used as a sexual identity on screen. Until it is, bisexual erasure will still be prevalent and damaging.

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QUEER EYE FOR THE STRAIGHT GUY Jess Keast-Towns discusses the representation of queerness in popular culture

W

e all know that the mass media is owned by the government and white, rich, middle-aged men. Therefore, it comes as no surprise that their ideologies are embedded in the media texts that we consume, whether that be the ideal sexuality, race, ability, gender and so on. While it advocates and praises the superior, it simultaneously decreases the inferior’s worth and creates several issues in wider society.

Since 1967 when homosexuality was legalised, you’d have thought that the media would have caught onto this and shown a fairer share of representations of these people and the wider LGBT+ community. However, popular culture and mass media still do not present it as the norm and, in fact, overtly reject this idea. The first homosexual kiss wasn’t shown in a British soap until 1987 when EastEnders created the relationship between Colin and Barry.

Homosexual relationships in popular culture are more often than not shown as the ‘other’ or the alternative to the norm. In a popular media text, it is likely that a homosexual relationship (if there is one) will have its focus centred around their struggles, weaknesses or how they cope being the way that they are. Therefore, although a text may include a homosexual relationship, its negative portrayal still reinforces the ‘ideal relationship’ and raises the question of how far the mass media have come in presenting queerness.

These ideologies enforced by the ruling class within the media can be so normalised and so subtle that we don’t even notice or challenge them. However, for people who identify as queer, it can be difficult to have all forms of media around you promote heterosexuality in advertising, television shows or films with very little representation of homosexuality. It may be hard to try and relate to your favourite film or television show characters if they are portrayed as nothing like you, as the ‘ideal’ human (which is questionable whether it exists), or as advocating traditional values which are simply not relevant in today’s society. As heterosexuality is seen as the hegemonic and dominating lifestyle, anything which differs from this is made evident and therefore viewed as a big deal. These ideologies simply reflect ruling class values rather than acting as a valid representation of social norms and values which exist today.

“AS HETEROSEXUALITY IS SEEN AS THE HEGEMONIC AND DOMINATING LIFESTYLE, ANYTHING WHICH DIFFERS FROM THIS IS MADE EVIDENT AND THEREFORE VIEWED AS A BIG DEAL” There are very few films which have LGBT+ individuals, especially when compared with the amount of films that exist in the world.

However, when they do exist, they tend to perfectly fit into stereotypes: a butch lesbian, a metrosexual gay man, a femme lesbian who nobody can believe is a lesbian or a transgender where the film revolves around their journey to find their identity. The highly-credited film Life Partners follows the lives of two female best friends: one, who is in a long-term heterosexual relationship and the other who is a lesbian, single and having life problems both romantically and career-wise. This reinforces the stereotypes surrounding homosexuality that individuals live an unstable life where finding a long-term relationship is difficult while a straight woman lives a happy and stable life and the only thing that can change this is their sexuality. Obviously, this is an extension from the mid-late 20th century where queerness in popular culture was virtually non-existent. However, it is questionable how beneficial it is to society and individuals to constantly promote these negative stereotypes.

It's rare to find a romantic comedy with a homosexual couple without the film making it a ‘gay film’ which merely focuses on the fact that they are not straight. However, films based around lesbians are much more common compared with films based around gay men and there’s one clear explanation for this: the male gaze. Gay women seem to be a huge fetish for straight men and this is used to the media’s advantage but women’s disadvantage. True presentations of gay women cannot be portrayed honestly because the desire to please its male audience is always vital to the success of the text. This is evident in the film Blue is the Warmest Colour where the much-discussed lesbian sex scene took a total of 10 days to shoot, proving the film’s high standards and desire to please its audience. It diminishes all opportunity to portray a real relationship with true emotion and realism.

To end on a more positive note, few television shows have had huge success and have been highly credited for its portrayal on queerness and its representation of the LGBT+ community. Orange is the New Black is one of the most realistic drama series based on a women’s prison and explores the issues they face such as discrimination based on gender, sexuality, race and so on. The series is reflective not only of authentic and honest queer relationships but simultaneously raises awareness surrounding discrimination that women face based on these factors. For these reasons, it is reflective of a more real representation where the aim of the text is not to gain a spectacle and present lesbians as a mere attraction for the male audience. Additionally, the series follows one of the main characters, ‘Sophia’, as she undertakes a sex change.

Fans appreciated Sophia as a character and praised the show for her as this is something which is extremely underrepresented in popular culture media. Not only this, but she is a strong, independent and determined character who is loved by all the other characters. Even better, the actress, Laverne Cox, is transgender herself, which raises the profile of the LGBT+ community and the individuals within this. She uses her profile as a platform to advocate the rights of LGBT+ individuals and the extreme discrimination that many are subject to.

In short, it’s clear that the presentation of queerness in popular culture is by no means all positive, and is sometimes non-existent. However, the odd film or television show which praises or advocates homosexuality or the LGBT+ community is one step closer to achieving the portrayal that these groups of people deserve. In years to come, I envisage a world where lesbian couples are portrayed not merely for the eyes of the male audience and gay couples to be presented more frequently with the authentic presentation they deserve.

1970 1972: ‘That Certain Summer’ was the first TV movie to positively deal with homosexuality 1974: first lesbian kiss on British TV on BBC drama ‘Girl’ 1975: ‘Hot L Baltimore’ shows the first gay couple on US TV

1980

1985

1987: First homosexual kiss shown on a British soap in Eastenders

1990 1991: First kiss between a gay couple airs on US TV during an episode of LA Law

1994: ‘Philadelphia’ was one of the first Hollywood films to deal with homophobia and HIV/AIDS 1995 1996: Carol and Susan get married in the Friends episode ‘The One with the Lesbian Wedding’ 1997: Ellen comes out on Oprah 1998: ‘Will & Grace’ debuts - runs for 8 years 1999: ‘Queer as Folk’ begins airing in the UK 2000 2001: ‘Buffy the Vampire Slayer’ shows a lesbian relationship develop between Willow and Tara 2003: Reality TV series ‘Queer Eye for the Straight Guy’ starts airing 2005: ‘Brokeback Mountain’ released

2009: ‘Glee’ and ‘Modern Family’ debut and both depict homosexual relationships.

Ru Pauls Drag Race begins 2010

2015 2017: Laverne Cox plays TVs first Trans main character in ‘Doubt’

ILLUSTRATION: ELEANOR PARKYN

THE LIBRARY IS OPEN READING TRADITIONAL GENDER IDENTITY TO FILTH Sadia Pineda Hameed serves some discursive realness on how drag shakes up our notions of identity.

The artform of drag - which most often sees performers create a female, male or ungendered illusion through padding, costumes, and faces painted for the gods – entertains and allows for expression, but also shatters traditional ideas of gender identity. Drag icon and international glamazon RuPaul’s mantra, “we’re all born naked and the rest is drag” spills the tea. From pageant girls to NY club kids, fishy to faux, queens take dressing up to a new, sickening and progressive level – and prove gender identity can be redefined with just a bit of charisma, uniqueness, nerve and talent.

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Despite traditional drag being about exaggerated femininity and associated with the gay male community, it explores what gender identity means for us all. It disrupts what the patriarchal rubric has defined as ‘female’ and ‘male’, a dichotomy that excludes any sort of subversions, fluidity or gender-variance.

Sex does not denote gender as it is more of a social construct, and drag liberates us from this whilst pointing out the artificiality of it all. Heidi Wurst, fierce queen and events organiser at Sickening Events who has recently been bringing some of the biggest names in drag like Trixie Mattel, Tatianna and Kim Chi to Cardiff, understands the power of this art form.

“Drag has no boundaries; people can do whatever they want; which is what often upsets the heteronormative audiences because they've always been told that they can't. […] Gender should be examined from all angles even if it's a long way to go before we accept that gender is all in our heads and not the result of marketing.” The gender binary that is marketed to us since youth, from the toys we play with as children to the magazines we read as teens, all attempt to shape us into its own definition; and anyone that questions it is regarded as deviant to the apparent norm.

This norm, however, has been questioned by the increasingly progressive media. In film, it has been portrayed as humorous and light-hearted such as in Billy Wilder’s Some Like it Hot (1929). Whilst this portrayal may not be as progressive or iconic as others, it is a very early example of cross-dressing being shown in popular cinema. In cult cinema, The Rocky Horror Picture Show (1975) took its representation of drag further, and Tim Curry’s character Dr Frank N Furter showed a way of expressing sensuality and pansexuality. The documentary Paris is Burning (1990) provided one of the most iconic glimpses into life within the counterculture of NY drag balls, examining the lives of gay men and trans people from the African-American and Latino community. The film’s portrayal of the adversities faced to survive in a ‘rich, white world’ was ground-breaking for all audiences, particularly in how the subjects in the film are portrayed as individualistic and inspiring, above any gender assertions. John Waters’ Pink Flamingos (1972) provided the community with its own icon in drag queen Divine, a provocative and even more fabulous Foxy Brown type whose transcendence of dichotomous gender definitions is intrinsically linked with her individual identity. She isn’t a man in drag; she is Divine. These portrayals prove that people can truly feel their oats when they are allowed to self-define, and don’t conform to traditional gender roles with audiences being more receptive to this on their screens than initially thought.

Within the last decade especially, it seems that drag culture has been finding its way into mainstream popular culture through the reality TV series RuPaul’s Drag Race from gay network Logo TV. Whilst the audience largely consists of those from the LGBTQ+ community, viewers outside it have increased with each season thanks to this age of social media - in 2016, RuPaul even snatched the crown, winning an Emmy award for ‘Outstanding Host for a Reality or Reality-Competition Program’, cementing the show in pop culture. Heidi Wurst understands the increased popularity with those less familiar with drag, “RuPaul's Drag Race is purely entertainment, I've worked in TV so for me it's not as shocking or misleading but for the general audience they get sucked up into it.”

There is more to the show than Roxxxy Andrews’ iconic wig reveal during her lipsync with Alyssa Edwards, the shady reads from Jujubee, and Shangela showering Mimi Imfurst with her Absolut Vodka cocktail (because she’s what? Sickening). It is a showcase of the diversity in drag in an entertainment show, and creates international superstars out of those who would otherwise be regarded as alternative entertainers. The host, RuPaul, would know better than most the difficulties in bringing drag into the mainstream. Her performance of Supermodel at MTV’s Spring Break in 1993 to a despondent and confused audience can be compared to the fact that the stars of RuPaul’s Drag Race performed at LA music festival Beach Goth in 2016, as part of a lineup that included mainstream performers like Gucci Mane and Bon Iver. Drag is not only becoming more legitimised in the mainstream as a way of life, but also as a respected artform.

Although the emergence of drag culture in popular media has been helping to redefine gender norms for us all, there are still instances of discrimination within the drag community which are perhaps more regressive than liberating and accepting.

Female performers also have a place within the diverse drag community in the form of drag kings, who perform under a hyper-male persona, and bio queens who drag up their own female appearances. The notion of what it is to identify with a particular gender is further shaken up by this.

“DRAG HAS NO BOUNDARIES; PEOPLE CAN DO WHATEVER THEY WANT; WHICH IS WHAT OFTEN UPSETS THE HETERONORMATIVE AUDIENCES BECAUSE THEY'VE ALWAYS BEEN TOLD THAT THEY CAN'T. GENDER SHOULD BE EXAMINED FROM ALL ANGLES EVEN IF IT'S A LONG WAY TO GO BEFORE WE ACCEPT THAT GENDER IS ALL IN OUR HEADS AND NOT THE RESULT OF MARKETING.” But, all tea all shade, there is an unfortunate stigma surrounding them and issues with whether they are impinging on male performers’ ‘safe space’. “A lot of people dismiss them because it's expected of them to be great at things like make-up and being a female,” Heidi Wurst explains, “but actually I've seen many bio queens who are better than some of the drag queens I've seen. I think it's been a tough time for bio queens, people don’t respect them as much as they should.” At the core of it, drag is about exploring one’s own individual personality whilst challenging the traditional gender definitions. Bio queen Fauxnique told Bust magazine that she feels drag “comes down to a sort of self-awareness, a self-consciousness about playing around with femininity” and is also a “rejection of traditional oppressive forms of masculinity — and that's part of an affinity with gay men as well.”

Drag’s impact on gender identity affects us all, no matter what we identify as. It brings into question what it means to be feminine through the diversity of fem and butch queens, and what it means to identify as a particular gender at all. Whilst it is perhaps more real for those within the community and for now more of an entertainment for those outside of it, it is nevertheless making an impact that is spreading faster than ever through social media and more accessible TV and streaming websites. By taking inspiration from the queens that write their own gender identities, we can learn to both feel freer and become more accepting of anything that deviates from patriarchal norms. Now, sashay away.

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WE ASKED OUR CONTIBUTORS TO ANSWER...

WHAT FEMINISM MEANS TO ME

HARRIET THORNLEY

KATE EAGLETON-ETHERIDGE

To me, feminism is belief in gender equality, which should be entirely intersectional. ‘Feminist’ is not a negative word or an insult, it’s not man-hating or bra-burning and IT’S NOT JUST FOR WOMEN! I’m a feminist because I believe we should live in a society free of gender-based violence, where a woman’s control over her own body is not determined by law, where there’s no gender pay gap or glass ceiling and where little girls do not grow up believing they are limited by their sex. We need to move away from the ridiculous cultural notion that raising strong women is a bad thing. As it stands, in the world we actually live in, one third of women worldwide are victims of sexual assault, children are forced to marry men three times their age, a 15 year old girl is shot in the head for advocating female education, a convicted rapist is given a reduced prison sentence because he can swim quickly and a man who has openly bragged about sexually assaulting women has just been elected President of the United States. Feminism to me is hoping that one day we won’t need a specific word for those who believe in gender equality because it will be universal.

I am a feminist. But I do not have hairy legs, I have never burnt a bra and I am not a lesbian. Feminism nowadays has negative connotations regarding the type of person that supports it and their values. I believe that as much as feminism is about equality, this same value should be transferred onto the acceptance of people’s choices in life and in supporting the cause.

To me, feminism means acknowledging that the sexes are biologically different but not letting this determine our gender nor hinder our opportunities and experiences in our life. To me, feminism is so much more than fighting for the equal rights of women. It is about empowerment, sexually, emotionally and in other ways too. It’s wearing what you want to without fear of ridicule or objectification. It’s showing leadership and knowing what it is you want and the confidence in getting it. It involves not blaming the victim, regardless of their gender. It means not questioning yourself and your self worth.

And therefore, feminism to me, is doing what I want, when I want and how I want, despite my sex.

ISOBEL ROACH

Emily Murray

With so many different interpretations, it’s difficult to know exactly what feminism stands for in the 21st century. For me, feminism means freedom for women to express themselves and be free from judgement and limitations. Whilst naturally this means giving women and girls the opportunity to climb the ladder in traditional male spheres like academia, sports and the world of business, it should also include freedom to follow more feminine pursuits. For too long women have had to choose between beauty and brains; being fashionable and domestic or intelligent and ambitious. What feminism asks is: why not both? If a woman puts as much care into her makeup routine as another might to her thesis, does that make her less of a feminist? If a woman expresses her sexuality whilst simultaneously running a social media empire, does that belittle her achievements?

Men desire women as objects not as people. They masturbate over girls whose moans are faked and whose faces and bodies are made of plastic. We live in a synthetic world where the most beautiful woman in the world is constructed from a surgeon’s knife and whose image cost her millions. She spent money on her body and now sells it, because as the saying goes “sex sells”.

Is this the sort of world we want our young daughters growing up in? To feel as though in order for them to be viewed as beautiful they must go through pain and suffering and change the way they are? And for what? To then be slashed by society for being a whore? Why don’t I see naked men on billboards?

Why isn’t there a men’s section in Victoria’s Secret? Why should I have to feel scared to walk home by myself after dark? What have I done that makes me deserve to be targeted by a sexual predator: being female? I am sick of feeling like I can’t simply wear a V neck top on a hot day because boys will stare at my chest and not my face. I am sick of having to wear overly baggy clothes so that I don’t have to feel eyes judging my behind. I’m sick of being scared to have sex with someone because I’ll be seen as a prize that’s been won yet I’m the loser. I get called a slut and he wins and is bought a pint. Who decided these were the rules? “You look so different without makeup on.” That’s because we’ve been told we have to wear makeup so that we are turned into objects to be desired. I didn’t sign up for this shit. “Today this woman just wacked out her tit in public.” She was breastfeeding her baby?! Did you think women have boobs for the sole purpose of you to wank over?! “Ugh why is there a tampon advert on, gross,” he grunts whilst scratching his balls.

Where do you think you came from? Your mother’s vagina, honey! And she suffered for a week every month of her life since she was 12 with the most excruciating cramps so that she could perform that miracle. Remember that next time you scrunch your face up like that when you hear the word period mentioned. I’m a feminist because I believe in equality of the sexes. But it’s a man’s world and you’re a 19 year old boy, why would you get it?

It should not. Yet so many people continue to judge women by their relationship with sexuality. The internet is quick to condemn women like social media mogul Kim Kardashian, and outspoken entrepreneur Amber Rose for embracing their sexuality and femininity. Feminism is a rejection of this condemnation; it is a movement that embraces and validates women from all walks of life. That’s what feminism means to me.

HANNAH HOPKINS Feminism. People can be so squeamish about the word, and some are even reluctant to use it. Somewhere along the line, it was interpreted to mean that being a Feminist was to be against men, and the various strands – Radical, Liberal, MarxistSocialist – may appear somewhat elitist and leave the everyday individual feeling out of touch with what Feminism is really all about. But, part of feminism’s appeal is that it can be interpreted differently and can mean whatever a Feminist wants it to mean - something that might give one woman confidence and ‘empower’ her, might make another feel uncomfortable. But, for me, the definition is an easy one to grasp: being a feminist means that any person of any gender is respected in the same way. It means that everyone deserves the same opportunities, chances and rights.

Of course feminism, contrary to popular belief, can be supported by, and of benefit to, men. Contemporary society is still riddled with the idea that men and women should be boxed into gender roles and feminism, for me, highlights this great disparity, as well as stereotypical assumptions which maintain that resources, like wages, should be divided asymmetrically.

These are the same assumptions which expect that women are destined for motherhood, and that men lack empathy (which is often practiced from an early age with gender stereotyped toys). At the very least, feminism is needed in order to challenge the often ridiculous gender distinctions boys and girls learn in childhood, and carry with them into adulthood, reinforcing stereotypes which may undermine personal ambition and desires.

DOMINIKA KUSNIERSKA Feminism is about being free to do whatever you want to do, to make your own decisions and not letting anybody control your life. You are powerful enough not to allow someone to force you into acting within socially accepted norms. You define what womanhood is. For some women, it means dressing up a certain way – the way they wish to. Others get involved in activities or jobs formerly perceived as predominantly for men.

No one can stop you from playing football or being a firefighter.

However, no woman should be ashamed of doing domestic chores. If you like cooking, go for it! It does not exclude you from being a feminist. Feminism does not automatically entail masculinisation. So be who you want to be – feminine or masculine or completely unique – it is your choice.

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MANNING UP:

THE MALE IDENTITY CRISIS WORDS BY MIKE LEITCH

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“While men shouldn’t be forced to show their emotions in public if they don’t want to, neither should men be expected to ‘man up’ and neglect their emotional wellbeing” I

n celebration of International Men’s Day, the Southbank Centre had the third year of its ‘Being a Man’ festival the following weekend. The festival’s various events included workshops on dad dancing and woodwork as well as discussions with men such as Professor Green (a patron of the Campaign for Living Miserably - a charity focused on dealing with male suicide), exploring the various issues surrounding male identity – the fetishisation and emasculation of fat men; how useful pressure can be in the workplace; the impact of American gun culture on young American boys; and the high rates of suicide amongst men, which was the focus of much social media on International Men’s Day itself.

These recent discussions about male identity all seem to centre on the idea that it is experiencing a crisis. There’s a constant reiteration that men are in conflict with campaigns such as ‘Boys Do Cry’, suggesting that men are either in touch with their emotions or completely cut off from them. There is a tendency to encourage men to embrace the former but as Professor Green said in his talk, some men, and indeed some people, just aren’t emotional. While men shouldn’t be forced to show their emotions in public if they don’t want to, neither should men be expected to ‘man up’ and neglect their emotional wellbeing. The question is constantly raised though: why is such a fairly simple concept so difficult for men to embrace without resorting to extreme actions and abuse, to themselves and to others?

CALM’s 2016 Masculinity Audit revealed how barely half of men who admitted to feeling “very depressed” had told anyone about it, compared with 67% of women who did. Men seem to be trapped within a vicious cycle: by not feeling comfortable talking to anyone, they can appear closed off and unemotional which makes them a less appealing person to talk to. They’re seemingly so impenetrable that conversation can become quickly repetitive or boring, so close relationships can become difficult to form and men have nowhere to turn to if they actually want to open up to someone.

As such, Men’s Rights Activism is an inevitable response to this issue and in theory, necessary. As the rights of women, ethnic minorities and LGBT+ people become increasingly important parts of social progress, there’s a risk of men being left behind, stuck in an outdated mode of identity. Social justice is built on resisting and rejecting ‘the norm’ and those who benefit most from maintaining its existence are typically male. By recognising men’s rights and where they fit in a multicultural, diverse society, Men’s Rights Activists could be a useful force in achieving equality. However, rather than trying to deal with the problems men experience, MRAs regularly make their presence felt by slinging mud, and much worse, at women (especially those that are also feminists – the apparent opposing enemy to men). Even if they remained focused on their cause,

the existence of societal structures where a man gets only a three month sentence for sexual assault because of ‘good behaviour’ means that declaring that men are victims of societal pressure can seem shockingly naive. For all the encouragement of men to be open about their emotions, it seems like male expression is restricted to being aggressive and overly sexual, which helps perpetuate the stereotype that male identity has always been and can only be this way. Safe to say, this is not benefiting men in the slightest and is as harmful to themselves as it is to everyone else.

But recently, men have been more vocal about resisting these stereotypes, especially in the creative world. Recent examples include Bo Burnham’s comedy special Make Happy, Matt Haig’s frank account of his experience with depression in Reasons to Stay Alive and Grayson Perry’s excellent examination of male identity, The Descent of Man. Even the successful and femalefocused show Fleabag took time to seriously consider the expectations men face in having to examine themselves and how male identity is facing new challenges to change in the twenty-first century. I produced my own small contribution for the Cardiff Fringe Festival this summer based on my experience with depression – an emotional day, not least as I performed it on the night of Brexit. Titled The Catch-Up, the piece was about a young man struggling (and ultimately failing) to talk to his old friends about his depression after one of their male mutual friends killed himself. Performing, writing and directing such a personal piece was incredibly cathartic and also helped me get to terms with how my own male identity has never been a consistent one and, more to the point, neither have most of the male friends I know. I know men who’ve attempted suicide; I know men who’ve cried in front of me but only when very drunk and secluded in the corner of a pub; I know men who’ve unashamedly groped women and got into fights in clubs. I know some men who’ve done all these things. Male identity can be as flexible as any other but it often seems to be the only one that isn’t considered as such.

There are so many other aspects of male identity I could explore but I’m not informed enough to cover – for example, black male identity and transitioning males have their own specific difficulties that don’t fit the general ones of male identity.

And perhaps that’s where male identity is at the moment: as something that doesn’t quite fit into modern society. Yet. It has taken at least three waves of feminism over almost 200 years for us to reach the point where contemporary society is (for the most part) comfortable with female identity being flexible.

I hope it doesn’t take so long with men, but if we’re only taking the first steps right now, then we better make it count.

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I

t’s weird living with roommates, as opposed to on your own.

The fact you can go for days without bumping into any of them if you try and keep to yourself, or see them all the time, spend time with them, socialise, and be influenced by them. It’s a state where when you are in your house you are never really alone, there is always some background noise, someone playing music or coming to talk to you, smells and thoughts that go with it wafting up to tickle your nose, just the general hustle and bustle of the everyday life.

CHARLIE KNIGHTS DISCUSSES LIVING WITH DISSOCIATIVE IDENTITY DISORDER. Artwork by Sarah Thompson

What this roundabout analogy is sort of trying to describe, is what goes on in my head on a day to day basis. Dissociative Identity Disorder, also known as Dissociative Personality Disorder (DID/DPD) effects roughly 1% of the population, and is more likely to affect females than males. It often stems from a history of childhood abuse, and thus with women experiencing childhood abuse at a ratio of 10:1, it makes sense that more women suffer from it. Other links are drawn between the age of abuse; the younger you are the more likely you are to develop DID. Links are also made to childhood trauma and substance abuse, with 17% of inpatients for substance abuse having DID, which is high considering they only account for 1% of the population. DID is said to be when a person has more than one identity or personality inside them, and those different sides can take over the body (in a process known as switching), for seconds, minutes, or even days. Often the host will not remember anything of the time in the middle. The other sides and identities (the roommates if you will) each have their own individual age, sex, even race.

A lot of people think that this is what Schizophrenia is, and often get the two confused. Schizophrenics hear and see things that have no place in reality, and they don’t have multiple personalities contrary to popular belief, and what Hollywood likes to portray in films and movies. However, with either of them, substance problems, anxiety, depression, insomnia, even suicidal tendencies tend to all come as a package deal (tick).

Sometimes these all add up, and you end up conflicted with who you really are. Are you a voice inside someone else’s head that happens to be in control that day? Do you want to get out of bed, leave your room, leave the house, hoping that you won’t switch at an important moment, become some other side you hate in front of someone, or during something, that matters?

THINGS

a poem by Charlie Knights

I hear things, Hesitant to call them people I hear things,

“I HAVE TWO OTHER ROOMMATES IN THE LITTLE THREE BED THAT IS MY HEAD”

They whisper seeds of doubt and hate and suffering, Evil thoughts within my ear, Is not easy living with voices, Alive inside my brain, Screaming songs of sadness, of bitterness and of pain,

Doctors, have an aptitude Of turning my mental health into an acronym for clarity, Telling me I have MPD or DID, or ABC 123, easy as you and me,

I have two other roommates in the little three bed that is my head; Darkness, the angry child who likes to get his own way, who argues and kicks his heels, who likes to hurt and punish people, and Supervisor. Supervisor is manipulative, she is religious, she is logical and rational and all other words along those lines. She likes to get her own way. The three of us talk, and don’t get me wrong, for all intents and purposes we get along perfectly fine.

Having DID isn’t always a negative, I understood how I may have come across like that, but still I can host conference calls inside my head, to talk directly to my anger, my fear, my rationale, my logic. Sufferers from DID tend to be better actors, or public speakers; bearing in mind we spend our everyday hiding the fact that we are never alone inside our own head.

In the words of the immortal poets the Jackson 5.

Because its not fine to dissociate, To be one minute lying in bed watching reruns, And the next to be 6 feet out your house no idea how you got there and all you have is fear and blank spaces and hoping you have your keys.

I hear things, Hesitant to call them people I hear things, That keep me chained to my bed and violent thoughts abound, Making loving thoughts into jealous accusations and date night to hate night,

And I think that sort of logic can be applied to a lot of other mental disorders, or dysfunctions, or disabilities, educational issues etcetera. For example, those with Dyslexia are more likely to be hired by NASA because they tend to be better at imagining 2D plans of something in a 3D environment, it’s all more of a matter of perspective.

Netflix and hallucinating doesn’t quite have the same ring to it, I don’t think.

And if you find yourself having serious identity issues, there is always someone to talk to (if you’ll pardon the obvious joke there). University counselling services, charities like Mind, Nightline (who if you need to talk anytime between 8pm and 8am they are always available on 02920870555). Reach out, find a friend who can understand. The fact that you feel split sometimes, and this doesn’t just apply to those with voices in their heads, doesn’t mean you lose your own identity. It’s a valid part of everyday life, to have these fears and doubts, to wonder if we are really ourselves or what we are doing. High pressure situations like university bring out those fears, those worries.

Do not shy away. Build on them. Every worry is a building block we can use to make ourselves stronger. Let people in. No one can ever really know ourselves except through the eyes of what other people see a lot of the time, so take that, find the positives, listen to the compliments!

Of if to stay and stand your ground and man the barricades,

And so I make a choice, As do we all I like to think, Of two roads diverged in a wood, yet although these thoughts are cold they aren’t so Robert Frost-y,

Or if to sink into the pillows, which make my cushioned grave.

For all of those listening, I hope you find some solace, In my lack of rhyming structure, all the rhythm of a novice, And that you stand by my right hand side, as we do this fight together, And tell those bastard speaking things, Get out. Go home. We’re through.

It’s a bit of a rambling message I know, and I wish I could have been more succinct, found a better way to pose this all, but I don’t think I could have. Supervisor tells me I should sign off now, and I think I rather agree with her. No matter where your worries lie, try and get out and about, don’t let them chain you down. Go make a cup of tea and have a chat with your real housemates, join a club or sport or society (student media is always hiring!), and find a way to find acceptance of who you are.

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FASHIONING AN IDENTITY WORDS BY: STEPHANY DAMYANOVA ILLUSTRATIONS: SARAH THOMPSON

If Facebook and Instagram let you create a whole different alter ego of yourself online, clothes let you do that in real life. In many ways what you wear defines how you want to be seen; it’s the first thing people perceive you by and it lets them learn more about who you are before initiating conversation. They can tell your gender, culture, homeland, even religion before you’ve barely said ‘Hi’ and shaken their hand. It’s for this reason exactly that clothes have also become a very controversial topic in societies that see a mix of cultures and ethnicities. They have been a starting point for stereotyping, discrimination and misinformation, in many cases caused by ignorance and in some by hate. We’ve seen this happen all over the world and even more so recently, as with the burkini bans that were unlawfully enforced on women in France this year. It’s crazy to think that fear and lack of understanding of cultural traditions can prevent a person from wearing whatever they want, but representation is a tricky subject and especially so in the context of ongoing social conflicts.

I’d like to think that the freedom of representation we have today is only limited by our own fear of other people’s opinions and although that might be true for some people, it’s not the reality women live in. They face regulations for their clothing in school and work, more importantly they have to face the fear of being violated and then blamed for causing the violence themselves purely by what they wore. Clothing has become the foundation of the so called ‘slut shaming’ movement that preoccupies itself with victim blaming and living in ignorance.

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Albeit the discrimination and violence that can be brought on by the way people dress, I do believe clothes are a useful tool in modern society.

Their ambivalence gives us the power to control our public image and to portray ourselves in a desired fashion. We can choose to be ‘manly’ or ‘feminine’ no matter our gender, we can rebel against social constructs and dress androgynously, we can look like anything we want if we know how to navigate styles and garments. We can choose from numerous subcultures and express ourselves through our clothes, we can become trendsetters, or follow styles religiously - the world is at our feet - if we can afford it, that is.

Quotes in the line of ‘Dressing well is a form of good manners’ posted along with photos of fancy dresses and expensive suits are flooding social media with snobbery and shallowness. But it’s not the quote that’s superficial, it’s the people who attribute luxury and wealth to dressing well. Dressing well is dressing appropriately – it’s not turning up in pyjamas for your friend’s dinner party, because they have made the effort to organize it and the least you can do is respect them enough to put on a pair of jeans; it’s not wearing a wedding gown at someone else’s wedding, because you care about them and don’t want to steal their moment. Dressing well does not always mean being the best dressed, but rather being polite and showing people respect. In its essence, the appropriate choice of garment for an occasion is a form of good manners, but our society and endless consumerism have put a grotesque twist on being respectful by attributing values to brands and judging people based on who rather than what they’re wearing.

based on his or her clothes, but all we are is judgmental and susceptible to manipulation. We have sold our personalities to brands and define ourselves in their names, advertisements have become so essential to the funding of modern society, they have shifted from economic tools and woven themselves into culture and our everyday lives. We, as people, have become walking, talking billboards and brand ambassadors for labels that we pay for.

Otherwise meaningless symbols are now attributed meanings - wearing the Nike swoosh is something people take pride in, because it shows a certain social status, same goes for the Lacoste crocodile, or the Ralph Lauren polo player, their symbols are more than brands, they are signifiers for wealth, lifestyle and taste. Subcultures today are more often than not formed around style and clothes and not defined by them. You could see a mod 50 years ago and think ‘Oh he looks like that because he likes this type of music’ and now you see a hipster down the street and think ‘Because he looks like this he must listen to this, go to these places, watch these movies’. Clothes have become culture themselves, they have become artwork and developed identities of their own. We see people whose clothes have more identity than them, who speak louder than they do. It’s frightening to think that clothes have a voice, but once people realize they have the power to choose what that voice says, it can become an advantage in navigating your social surroundings rather than a threat.

Clothes can empower us, as they can enslave us – they can attribute meanings and define people. A doctor’s robe would make us respectful towards the person wearing it and put them in a position of authority, same goes for police officers, firefighters, judges – all professions clearly recognizable by their garments. Strip away the white robe, however, and all you are left with is a person with medical expertise, who you wouldn’t listen to or trust at first glance, because you can’t identify their authority by their appearance. We have become shallow in our perceptions and think we’re smart for being able to recognize a person’s background

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BIAS BEGINS:

THE DANGER OF STEREOTYPES WORDS BY: COURTNEY BRIDGE

Stereotyping. What does it mean to you? A phrase originally coined during your GCSE Media Studies lessons, or a more damaging inherent aspect of our everyday culture? For many people, stereotyping can bring with it additional negative connotations of discrimination, inequality and abuse of a racial, sexual, ageist, and religious kind. However, the list does go on. With all of these stereotypes flying around it can be difficult in twenty first century life for countless individuals to live according to their true identity without the anxiety of being misunderstood and thus questioned by society.

Being aware of social groups is our downfall, however the media’s influence is critical because in today’s culture its tight grasp is such an inherent aspect of our everyday lives. Therefore I believe it is at fault for reinforcing these out dated and ultimately incorrect stereotypes. Now I could dispute that stereotypes aren’t always as damaging as I have first implied. On a surface level, stereotypes are integral in everyday life. They allow the big shot Hollywood producer to represent the classic hero and damsel in distress binary opposite scenario without consuming too much screen time. However, what happens when these stereotypes are played out and reinforced within real life as a set of normative values?

Hollywood and the mainstream media are often blamed for underpinning sexist and racist stereotypes. Countless females are traditionally represented, as the damsel in distress or the princess stereotype within the media. Just consider any Disney Princess film ever made or more recently the representation of women in Jurassic World or Sex and the City. Males, on the other hand, are represented to be a hyper-masculine stereotype that denies all emotion and these values are reflected in the expectations of males in modern times. What happens when a young girl decides she wants to be the hero or even the villain?

Although there are always few exceptions to the rule, young boys and girls only see their role models on the big screen fitting in with a certain stereotype they are never encouraged to challenge these ideologies and beliefs.

Why don’t young girls and boys challenge these expectations forced upon them you may ask? Well, it is hard to challenge normative assumptions within a society that has a set of expectation on how adolescents ought to discover their identities. If individuals don’t follow stereotypical expectations of their, race, gender etc. they are generally misunderstood, marginalised and cast aside within society. The most concerning issue is that when children are creating their identities they are already subject to an abundant amount of subtle stereotypes before they can ever comprehend what they are. Picture this: it is Christmas Eve. There are two children eagerly anticipating their presents from Father Christmas. The older brother plays on his electronic car set he got the Christmas previously, without letting his little sister share it with him. Therefore the young girl has decided this Christmas she wants to be just like her big brother so she asks for an electronic car set all of her own! Nevertheless, when Christmas Day finally arrives a Pink Barbie greets her instead. Although this instance doesn’t seem significant (apart from the young girl's disappointment) it is this reinforcement, which makes it hard for individuals to discover their true identity. I was lucky enough to have parents that never defined gender stereotypes as a set of colours or a certain type of toys. They instead allowed me to explore beyond the realms of gender boundaries regardless of what set of presumptions my gender advocates.

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So who is to blame? The children for assuming they can have choice? The parents who fail to refute gender stereotypes from the outset? Or society, which tells the parents that they will be questioned or misunderstood for ignoring gender stereotypes and allowing their children to be marginalised and seen as different?

This general trend is also apparent within racial stereotypes and the issue of white privilege, which is a narrative strand often presented throughout the mainstream media. It is often damaging to anyone who is thrown aside as anything other. But how can we expect people to craft their own path away from a culture of stereotypes when many negative connotations surround stereotypes regarding other ethnic backgrounds.

This has originated from the marginal representation within the media both fictional and non-fictional. We see damaging stereotypes regarding race reinforced within events such as the London riots of 2011 and more recently within the representations of refugees from Syria. If these individuals are being labelled as a certain stereotype how can they break away from being labelled as ‘black’ or ‘Hispanic‘ and instead etch their own authentic identity.

This general trend is also apparent within the fictional aspect of the media.

People rejoiced over the first black Disney Princess, but is this development a little too late? Are we as a generation already brainwashed into thinking Princesses should be white, skinny, pretty and blonde?

Although stereotypes clearly have a tight grasp of society's members and after all this disheartening negativity, they let us be grateful for the role models who on a day-to-day basic slash stereotypes and encourage us to be who we want to be regardless of gender, race, age or sexuality.

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‘Film holds great power over us. It provides not only escape from reality, but also influences it, subtly shaping and moulding our perceptions of how we see ourselves and the sort of person we want to be’ – Oliver Leigh

I know, pretentious right, but who could resist using a quote as epic as that (especially from such an inspiring philosopher and scholar)..? Anyway shanter aside, I wouldn’t be here writing this article if I hadn’t watched a little gem of a film called Blood Diamond; a film about the illicit blood diamond trade between conflict zones such as Sierra Leone in Africa and the West. The film itself revolves around a South African mercenary Danny Archer (Leonardo DiCaprio) who wishes to leave his hellish life behind by finding a rare and illusive giant pink diamond. However, to do so, he must team up with local fisherman Soloman Vandy (Djimon Hounsou) who only agrees to do so if he can locate his son who has been forcefully recruited as a child soldier. When he fails to do so journalist Maddy Bowen (Jennifer Connelly) is recruited to help, but only agrees to it if Archer gives up information about the blood diamond smuggling that is ripping the country apart, something he is a part of. Quid pro quo much?

Whilst the narrative mainly revolves around Danny Archer and Solomon Vandy, it is the character of Maddy Bowen that had a lasting impression on me. So much so that she initially inspired me to become a journalist and study it as a degree. Whilst she may seem sly in the exploitation of both Archer and Vandy’s situation, her ultimate goal is twofold: to highlight an obscure country’s tragic conflict by bringing it to the forefront of the world’s attention, and also expose those within positions of power who allow for the corruption of human decency for the sake of profit. She is resourceful, fearless but at the same time caring. She embodies the qualities of not only the ideal journalist, but what I think are the base traits of what a person should aspire to have. She may be a fictional character whose behaviours may not always align with mine, but she provides a mental gauge to which I measure how well or poor I perceive myself and my actions. It is in this sense that I believe film has an impact on us, both emotionally but also on our perceptions of reality.

SHAPING IDENTITY THROUGH FILM

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WORDS BY: OLIVER LEIGH

LESLIE

KN

ATOR ER EN

O

L P I M M E O NT C E G P

FIRST LETTER OF YOUR FRIEND’S NAME?

WHICH MONTH WAS YOUR FRIEND BORN IN?

WHICH DAY WAS YOUR FRIEND BORN ON?

A- Stunning B- Loyal C- Magical D- Loveable E- Flawless F- Sophisticated G- Precious H- Brilliant I- Talented J- Incredible K- Beautiful L- Fabulous M- Gorgeous N- Charming O- Perfect P- Gentle Q- Dazzling R- Amazing S- Sassy T- Wonderful U- Majestic V- Awesome W-Dainty X- Thoughtful Y- Delicate Z- Heavenly

January- Soft February- Moon March- Golden April- Sequined May- Sparkling June- Tropical July- Sunshine August- Space September- Glowing October- Caramel November- Glittery December- Angel

1- Flower 2- Mermaid 3- Unicorn 4- Pie 5- Genius 6- Star 7- Queen 8- Puppy 9- Rainbow 10- Cupcake 11- Teacup 12- Baby 13- Pizza 14- Strawberry 15- Kitten 16- Rose 17- Butterfly 18- Mitten 19- Candyfloss 20- Cookie 21- Bunny 22- Tiger 23- Cherry 24- Daisy 25- Avocado 26- Ghost 27- Candy 28- Duckling 29- Peach 30- Pancake 31- Snowflake

Illustration: Eleanor Parkyn

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