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Title: Gender on Display

Gender on Display

Identity and Representation in Popular Culture

by Tuna Tetik (Volume editor) Ece Arihan (Volume editor)
©2026 Edited Collection 218 Pages
Media and Communication

Summary

Gender on Display: Identity and Representation in Popular Culture is a compendium of research and academic studies critically examining significant popular culture and media instances. Concentrating on several domains, such as advertising, video games, animation, cinema, and design, this edited volume analyzes aspects of gender, identity, and representation. The collection addresses various topics, including design elements, the construction of stereotypes, narrative structures, gender representation, visual culture, and identity formation. It is intended for scholars, researchers, and media professionals seeking to enhance their understanding of these multifaceted relationships.

Table Of Contents

  • Cover
  • Title Page
  • Copyright Page
  • Contents
  • List of Figures
  • List of Tables
  • Preface
  • Acknowledgments
  • Effect of Design Elements in Digital Advertising on Gender Perceptions of Gen Z (Berna Balcı)
  • Introduction
  • Theoretical Background
  • Gender Visual Perception Differences Through Generations
  • Visual Design Elements of Digital Media Advertising
  • Logo Shape
  • Typeface
  • Brand Name
  • Color
  • Advertising Attitude and Brand Attitude
  • Online Purchase Intention
  • Methodology
  • Research Model
  • Participants
  • Product Category
  • Measures
  • Results
  • Participants Open Responses
  • Discussions and Takeaways
  • Limitations and Directions for the Future
  • References
  • Overturning Stereotypes: Gender Representation Through Character Design and Development in Arcane (Ece Arıhan)
  • Introduction
  • Feminist and Queer Theories on Gender
  • Gender Representation in Popular Culture and Media
  • A Theoretical Overview of the Jungian Archetypes
  • Reimagining and Subverting the Archetypal Figures in Arcane
  • Conclusion
  • References
  • Game Aesthetics Through Cixous’s L’écriture Féminine (Tolga Hepdinçler)
  • Introduction
  • Embodying the Concept “write the feminine”
  • Conclusion
  • References
  • Gender-Fluid by Night: Unraveling Gender in the World of Darkness Tabletop RPG (Ertuğrul Süngü, Deniz Özyurda Ergen)
  • Introduction
  • Theoretical Framework
  • Gender Performativity
  • Queerness in Role-Play
  • Post-Humanism and Fluid Bodies
  • Monstrous Fluidity: Vampirism, Cursed Bodies and Gender
  • Method
  • V5—Between the Beast and the Beauty—Fluid Identities in the Masquerade
  • From Mortal to Monster: Crafting a Kindred Identity
  • From Chronicle to Masquerade: Constructing the Vampire Underworld
  • Sects, Clans and the Jyhad: A Fractured Kindred Society
  • The Camarilla’s Rule: Hierarchy, Traditions, and Control
  • Blood, Dice, and Discipline: The Mechanics of the Masquerade
  • The Masquerade as Performativity
  • Blood as Power and Subversion
  • Dice, Discipline, and Identity Regulation
  • Role-Playing, Agency, and Queering the Experience
  • Conclusion
  • References
  • From Heels to Boots: The Evolution of Gendered Discourse in Baldur’s Gate Franchise (Batu Bozoğlu)
  • Introduction
  • Representation of Gender in Video Games
  • Corpus-Assisted Approach to Critical Discourse Analysis
  • A Look at the Baldur’s Gate Franchise
  • Methodology
  • CADA of Corpora
  • Keyword Analysis
  • Collocative Analysis
  • Conclusions
  • Appendix I: Corpus Creation Process
  • Corpus 1: Baldur’s Gate 1 and 2 Dialogues (1581080 Tokens, 29625 Types, 4029 Files)
  • Corpus 2: Baldur’s Gate 3 Dialogues (1877802 Tokens, 35609 Types, 8991 Files)
  • Appendix II: Data Tables
  • References
  • “Fate Be Changed”: Political Economy of the Feminist Film and the Disruption of Genders (Yağmur Çenberli)
  • Introduction
  • Understanding the Political Economy Aspect of Feminist Film Studies
  • A Story of a Strong Girl Written by a Strong Woman
  • For Women by Women
  • References
  • Gender Representation and Typologies in Miyazaki’s Shōjo (Burçin Geniş Ergün)
  • Introduction
  • Methodologies in Content Analysis
  • Semiotic Analysis of Shōjo and Flying Imagery
  • Feminist Media Studies Perspective
  • Intertextuality and Character Design
  • Linguistic Analysis
  • Semiotic Analysis
  • Content Analysis of Gender Roles
  • Feminist Media Studies and Feminist Materialist Perspective
  • Typologies of Shōjo in Miyazaki’s Films
  • Ecological Pacifism and Femininity
  • Nature vs. Culture
  • The Analysis
  • Findings
  • Conclusion
  • References
  • The Panorama of the MCU in the First Fifteen Years: Gender, Representation, and Production (Tuna Tetik)
  • Introduction: Female Superhero or Superheroine
  • The Genre of Super“heroes” and the Contemporary Superheroines
  • Research Scope and Methodology
  • The Panorama of the MCU in the First Fifteen Years
  • Conclusion
  • References
  • And the Oscar Goes to Lonesome Cowboys: An Examination of Masculinity and Femininity in Best Picture Oscar Film Posters (2016–2025) (Funda Kaya)
  • Is Oscar Really a Man?
  • Goffman’s Method and Gender Dynamics in Commercials
  • Methodology
  • Analyses and Discussion
  • References
  • Typography and Brand Gender: A Study on Disney’s Animated Movie Title Design (2014–2024) (Nisa Gülfidan, Murat Can Oğuz)
  • Introduction
  • Animated Movie Titles: Visual Identity of a Brand
  • Influence of the Walt Disney Company
  • Theoretical Framework
  • Overview of Gender Theory in Media and Animation Studies
  • Gender Ideology in Disney Movies
  • Evolving Gender Roles in Disney Movies
  • Visual Design and Typography as Gendered Communication
  • The Dimensions of Masculine and Feminine Typography in Brand Gendering
  • Methodology
  • MyFonts as a Typography Classification
  • Typographic Classifications: Masculine vs. Feminine
  • Findings
  • Discussion
  • Conclusion
  • References
  • Bodies in Flux: Water and the Fluidity of Gender and Identity in Art (Begüm Yamanlar)
  • Bodies in Flux: Water and the Fluidity of Gender and Identity in Art
  • Silueta
  • Still Water (The River Thames, For Example)
  • Threat to Civilisation
  • Conclusion
  • References
  • Notes on Contributors

List of Figures

Berna Balcı

Figure 1: Visual Content Included in Advertisements

Tolga Hepdinçler

Figure 1: A Still Image from Assassin’s Creed: Valhalla

Figure 2: A Still Image from Life is Strange

Figure 3: A Still Image from GRIS

Figure 4: A Still Image from What Remains of Edith Finch

Batu Bozoğlu

Figure 1: Data Visualization from Collocative Analysis of “She” from the Corpus BG 1&2

Figure 2: Data Visualization from Collocative Analysis of “He” from the Corpus BG 1&2

Figure 3: Data Visualization from Collocative Analysis of “She” from the Corpus BG 3

Figure 4: Data Visualization from Collocative Analysis of “He” from the Corpus BG 3

Figure 5: Original (Left) vs. Cleaned (Right) Dialogue Files from Baldur’s Gate 1&2

Figure 6: Original (Left) vs. Cleaned (Right) Dialogue Files from Baldur’s Gate 3

Tuna Tetik

Figure 1: The Distribution of the Criteria in the MCU Movies Between 2008 and 2022

Figure 2: The Distribution of the Criteria in the MCU Television Productions Between 2008 and 2022

Nisa Gülfidan, Murat Can Oğuz

Figure 1: Typography Gender Trends in Animated Movies Over Time

Figure 2: Typography Gender by Movie Genre

Begüm Yamanlar

Figure 1: Ana Mendieta, Untitled (from the Silueta series), 1976 [Performance stills]

Figure 2: Roni Horn, Still Water (The River Thames, for Example), 1999

Figure 3: Olga Balema, Threat to Civilization 4, 2015; and Threat to Civilization 5, 2015

List of Tables

Berna Balcı

Table 1: Items Adapted from Previous Studies

Batu Bozoğlu

Table 1: Selection of Gendered Terms from Keyword Analysis of BG 3 on BG 1&2

Table 2: Raw Frequency Values and Rankings of Gender Representational Terms Found in Corpora BG 1&2

Table 3: Raw Frequency Values and Rankings of Gender Representational Terms Found in Corpora BG 3

Table 4: First 25 Ranking Terms from Collocative Analysis on Corpora

Table 5: Keyword Analysis of Baldur’s Gate 3 Corpus with Baldur’s Gate 1&2 Corpus Referenced

Table 6: Collocative Analysis of “She” in the corpus Baldur’s Gate 3

Table 7: Collocative Analysis of “He” in the corpus Baldur’s Gate 3

Table 8: Collocative Analysis of “She” in the corpus Baldur’s Gate 1&2

Table 9: Collocative Analysis of “He” in the corpus Baldur’s Gate 1&2

Burçin Geniş Ergün

Table 1: Comparison of Methodologies and Findings

Table 2: The Content-Coded Analysis of Kiki’s Delivery Service (1989)—Kiki

Table 3: The Content-Coded Analysis of My Neighbor Totoro (1988)—Satsuki and Mei

Table 4: The Content-Coded Analysis of Spirited Away (2001)—Chihiro/Sen

Table 5: The Content-Coded Analysis of Princess Mononoke (1997)—San

Table 6: The Content-Coded Analysis of Howl’s Moving Castle (2004)—Sophie

Table 7: The Content-Coded Analysis of The Wind Rises (2013)—Nahoko Satomi

Table 8: The Content-Coded Analysis of Ponyo (2008)—Ponyo

Table 9: The Content-Coded Analysis of The Castle of Cagliostro (1979)—Clarisse

Table 10: The Content-Coded Analysis of Nausicaä of the Valley of the Wind (1984)—Nausicaä

Table 11: The Content-Coded Analysis of The Cat Returns (2002)—Haru

Tuna Tetik

Table 1: The List of the MCU Productions Covered in the Research Scope

Table 2: The List of the MCU Productions: Director, Type, and Gender of the Superhero

Nisa Gülfidan, Murat Can Oğuz

Table 1: Title Information

Preface

In the constantly evolving age of information, defined by fast-paced technological innovations and globalized socio-cultural shifts, media and popular culture have become one of the most prominent areas where gender and identity are constructed, performed, and challenged. Agents of popular culture, such as digital streaming platforms, social media feeds, blockbuster films, television series, video games, and advertisements, saturate everyday life with images, stories, and performances that play a crucial role in shaping public perception. Gender on Display: Identity and Representation in Popular Culture emerges in this ever-changing time, presenting a critical exploration of the way modern media texts mirror and reshape the meaning and understanding of gender and identity.

Details

Pages
218
Publication Year
2026
ISBN (PDF)
9783631941461
ISBN (ePUB)
9783631941492
ISBN (Softcover)
9783631935965
DOI
10.3726/b23102
Language
English
Publication date
2026 (August)
Keywords
Art Cinema Communication Globalization Media
Published
Berlin, Bruxelles, Chennai, Lausanne, New York, Oxford, 2026. 218 pp., 18 fig. b/w, 24 tables.
Product Safety
Peter Lang Group AG

Biographical notes

Tuna Tetik (Volume editor) Ece Arihan (Volume editor)

Tuna Tetik (Ph.D.) is an associate professor in the Film and Television Department and the Vice Dean of the Faculty of Communication at Bahçeşehir University. He received his doctoral degree at Bahçeşehir University, Cinema and Media Research Ph.D. program, and directed short films and a documentary that received international awards. His research interests are superheroes and comics, transmedia, film genres, video-on-demand services, and video games. Tetik is currently teaching undergraduate courses on digital editing and film production, and graduate courses on screenwriting. Ece Arıhan (Ph.D.) is the Department Chair and assistant professor in the Visual Communication Design Department at Bahçeşehir University. She earned her bachelor’s degree at Işık University in Computer Engineering, master’s degree at the Academy of Art University in Animation and Visual Effects, and doctoral degree at Bahçeşehir University in Cinema and Media Research. She wrote and directed her own 3D animated short film, Never After, which won international awards. Ece Arıhan worked on 3D animated short films that were screened at international animated film festivals. Her interests include graphic design, filmmaking, animation studies, game development, and gender studies.

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Title: Gender on Display