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PS 055 Labor Conditions of Women Journalists in Spain. Cross-Gender and Intra-Gender Determinants of Empowerment
R. Berganza1, R. De Miguel1, E. Monterroso2, S. Perelló1, C. Muela1 , A. Carratalá3, B. Herrero 4
1 University Rey Juan Carlos, Department of Communication and Sociology, Fuenlabrada, Spain
2 Madrid Open University, Department of Law, Collado Villalba, Spain
3 University of Valencia, Department of Theory of Languages & Communication, Valencia, Spain
4 University Rovira e Virgili, Department of Communication Studies, Tarragona, Spain
As part of theWorlds of Journalism Study (WJS) we carried out a survey with a random representative sample of 390 Spanish journalists (95% confidence)
during 2014 and 2015. We explored labour conditions and journalistic cultures that affect Spanish women journalists considering two separate levels
of analysis: a cross-gender analysis, in order to maximize differences between men and women; and an intra-gender analysis which provides several infer‑
ences with regards to women journalists empowerment within the Spanish media ecosystem. In the case of the cross-gender analysis, our first objective
was to validate a series of hypotheses made by Hanitzsch and Hanusch (2012) about gender differences in journalists’ professional views in 18 countries.
This initial replicatory approach offers inconsistent results, as none of their claims is directly confirmed in the Spanish context, whereas some other are
immediately refuted. Nevertheless there are enough communalities between both reports as to assure that national cultures may reduce the degree of gen‑
eralization of assertions concerning the issue of gender-based differences among journalists. Indeed, our work confirms that women and men do not differ
in their role conceptions, although gender segmentation analysis of Spanish journalists points at interventionism, power distance, market orientations,
and ethics as explaining variables of relevant differences. With regards to the intra-gender analysis, our results suggest that women journalists that have
achieved a certain level of empowerment —especially remarkable within on-line newsrooms— do reproduce gender inequality patterns, which delays
the possibility of actually achieving the ‘feminization of journalism’(Chambers et al., 2004) in Spain. Relating to the latter, it is particularly remarkable that
regardless of the journalist’s hierarchical rank, women have much fewer opportunities to take advantage of their higher educational qualifications. Refer‑
ences Hanitzsch,T. & Hanusch, F. (2012): Does gender determine journalist’s professional views? A reassessment based on cross-national evidence. European
Journal of Communication, 27(3) 257–277 Chambers, D., Steiner, L., Fleming, C. (2004): Women and Journalism, Routledge: London.
PS 056 New Cold (Sex) War, or Another Post-Soviet Feminism
B. Inna1, V. Devillard1
1 Institut Français de Presse- Université Paris 2 Panthéon-Assas, Information and Communication, Paris, France
Punk and radical in its protest nudity, Pussy Riot’s and Femen’s artivism claims its neo-feminist, post-porn, post-Soviet position. Formed in the context
of total "autocratic" male dominance, these activists, often political refugees living in European countries, in particular in France, are in line with the po‑
litical, cultural, social and religious crises that have taken place since the 90s in the post-Soviet countries. Their actions echo the revisited past of a Golden
Age’s radical political and artistic vanguards of the dawn of the 20th century and disrupt second and third wave European feminists. Their performances
arouse in public space passions, emotions, infatuation and, especially, a lot of rejection. Their nakedness, their sextremisme and their public exhibition push
the actors of political, intellectual and associative spheres to respond to this public denunciation against all forms of patriarchal domination. Faced with this
post-Soviet « breaking wave », the ways to make feminism and to be feminist have become the central topic of debates in France which caused a shock wave
and a new“sex war”inside of“old school”feminist collectives. The "western sexism" of European feminists regarding this“new wave”of « naked rebellion »
disrupts the codes, creates a new sexual dissidence and divides the French feminist front. This talk proposes, through a double corpus of comprehensive in‑
terviews with activists from the former Soviet bloc and the French feminist front and the media monitoring corpus (including the web), to examine the issue
of the trans-nationalization of feminist mobilization from Eastern Europe to France in the context of post-Soviet collapse. Far from assuming the existence
of a “globalized feminism”, this analysis looks at the ways in which these movements breathe new life into the forms performed in the past in Pussy Riot’s
and Femen’s commitment, as well as highlighting the fault lines of these militant practices using the“body”inside public arenas of French feminists. Name:
Inna BIEI About: PhD at the French Press Institute, the Department of Information and Communication, Panthéon-Assas University. Name Valérie Devillard
About: University Professor at the French Press Institute, the Department of Information and Communication, the Panthéon-Assas University.
PS 057 The Reclined Female Body – from de Masters Painting to Media: Memory, Challenge and Social Innovation
T. Meruje1
1 Faculdade de Ciências Sociais e Humanas / Universidade Nova de Lisboa, History of Art, 1069–061 Lisboa, Portugal
This communication discusses the poses, figurations, poetic and body metaphors, electing as a singular case the reclined female body, analysing the differ‑
ent occurrences of this pose in its pervasive and timeless existence under the sign of the anachronism, in search of unexpected relationships and another,
non-linear, temporality. The reclining pose we found in artists like Giorgione, Palma Il Vecchio, Tiziano, Manet – Dresden Venus, 1510, Giorgione; Ruhende
Venus, 1518, Palma Il Vecchio; Venus of Urbino, 1538, Tiziano Vecellio; Olympia, 1863, Edouard Manet –, survived and is still very much alive as we see in
media, particular in advertising. The pose remains, but it is never the same. It did not have the time of image, it made itself the image, the same and always
one another. Journeying on the image and the word, the image and the body, and the body-image – full body and the fragment –, we travelled this path,
aiming to study and analyze this pose in reminiscence and sovereignty, from painting, sculpture and photography to media and advertising. We propose,
therefore, to inquire, dissect and equate the reclined pose as an enigma and to determine its power of continuity and survival, in the tension between
the Past and Hereafter, gaining strength and dynamism while searching for its own direction. It is our objective to rescue the images, free them from
the historical dust, unravel the thread that holds their migration, the permanence of memory, where the body takes shape, and wings.