Reducing risk for sexual victimization: an analysis of the perceived socioemotional consequences of self-protective behaviors

The current study examined college women's perceptions of the positive and negative socioemotional consequences associated with engaging in self-protective behaviors to reduce risk for sexual victimization. At baseline, women completed assessments of the extent to which they would experience positive or negative socioemotional consequences as a result of engaging in various self-protective behaviors. At a 2-month follow-up, women reported on their engagement in self-protective behaviors and experience of sexual victimization over the interim (N = 143). At baseline, some self-protective strategies were perceived as having more positive or negative socioemotional consequences than others. Perceiving a high level of negative socioemotional consequences associated with taking precautions prior to a date was associated with sexual victimization over the 2-month follow-up.     

neither here nor there: the reproductive sphere in transnational feminist cinema

This article examines representations of motherhood in three transnational feminist films: Anayansi Prado's Maid in America (2004), Sabiha Sumar's Silent Waters (2002) and Marjane Satrapi's Persepolis (2007). While these films differ at the levels of genre and style as well as in terms of their production contexts, they each feature several scenes that engage the tension between distance and proximity, separation and unity – an always unresolved tension integral to the reproductive sphere. Each film also provides at least one close-up shot of a mother's hands preparing food for her charge. Tracing Mary Ann Doane's explication of the close-up shot's engagement with the capitalist logic of the microcosm and macrocosm, I will show how the aforementioned films resignify what Doane identifies as the close-up's compensation for the loss of unity in modernity. The recurring image of a mother's labouring hands interrogates the false unity of the capitalist macrocosm, while also complicating the purportedly separate microcosm in which modern subject can touch and hold a given commodity. These films show that transnational mothers are simultaneously held within the immobile space of reproduction – owned and exploited by the larger structures that depend on their labour – while also actively recreating the cultures that render them invisible.