The sims-Language and audience

1) What elements of gameplay are shown?

You create your own chracter,friends and house.

2) What audience is the trailer targeting?

It's like a dollhouse which is 75% female and 25% male.

3) What audience pleasures are suggested by the trailer?

Diversion-making your own world and living the way you want to live.

Now watch this walk-through of the beginning of The Sims FreePlay and answer the following questions:

1) How is the game constructed?

It introduces the world and how its built.

2) What audience is this game targeting?

Younger audience by having bright colours.

3) What audience pleasures does the game provide?

Diversion-live the way you want and make your own world.

4) How does the game encourage in-app purchases?

you can pay for  speeding things up in the game by buying gems.

Audience

Read this App Store description and the customer reviews for The Sims FreePlay and answer the following questions:  

1) What critics reviews are included in the game information section?

The review talk about how wonderful it is for making its own world and making characters for themselves.

2) What do the reviews suggest regarding the audience pleasures of The Sims FreePlay?

The audience pleasure once again seen is a diversion and personal identity once again as the reviewer seeks to do things just like real life and will be able to design and build their own houses as if they were rich so this view of hyper-reality creates the immersion of the real-life experience.

3) How do the reviews reflect the strong element of participatory culture in The Sims?

This conveys that the users are able to critique the game and its fundamentals, they believe that they are able to influence how the game operates and runs, therefore, believe they are active.

Participatory culture

Read this academic journal article - The Sims: A Participatory Culture 14 Years On. Answer the following questions:

1) What did The Sims designer Will Wright describe the game as?

The designer described the game to be a sandbox doll house type of game that would attract a younger audience which is more adapted to a more technological mindset. The would simulate the aspects of creating your own city and character where you can do a multitude of tasks.

2) Why was development company Maxis initially not interested in The Sims?

One reason that people were not interested in the aspect of doll house type of game was that it was targetted at a female audience and games at the time were more male orientated. Therefore the company did not see it worthwhile to make a game targetted for a female audience.

3) What is ‘modding’?

Modding is the use of code to add, delete or innovate something within a game, this is often done by fans of the games who release them online to share with others, some groups of fans do this to create a project sometimes a new game entirely or an improved version of what they have already been given.

4) How does ‘modding’ link to Henry Jenkins’ idea of ‘textual poaching’?

Consumers and audiences are contributing to a product or franchise.

5) Look specifically at p136. Note down key quotes from Jenkins, Pearce and Wright on this page.

"allowing individuals to come together around shifting interests to create digital communities that are ‘held together through the mutual production and reciprocal exchange of knowledge" (Jenkins).

"Whereas the game itself gave consumers a base neighbourhood, wardrobe and furniture sets to play with, the players themselves turned producers (or producers" (Wight)

6) What examples of intertextuality are discussed in relation to The Sims? (Look for “replicating works from popular culture”)

They could depict characters from: Star Wars, Star Trek, The X-Files and Japanese anime and manga - all of which were extremely popular.

7) What is ‘transmedia storytelling’ and how does The Sims allow players to create it?

"The primary text encoded in an official commercial product could be dispersed over multiple media, both digital and analogue in form".

8) How have Sims online communities developed over the last 20 years?

The last extension pack for the first diversion was discharged in 2003, however some still need to play the amusement and modding locales still make the diversion a functioning network. Fledgling modders are passed on abilities from the individuals who are specialists - exchanging aptitudes to others to keep the network dynamic too. 

9) Why have conflicts sometimes developed within The Sims online communities?

Individual preferences of the players create divisions in the community - between some who want to charge money for the mods and the ones who want to see it for free.

10) What does the writer suggest The Sims will be remembered for?

The mass following of the game and the cult following of it, that stayed well beyond the usual lifespan of a normal popular computer game; also for the culture of digital production to pioneer and create a huge staple fan and game modding communities.

Read this Henry Jenkins interview with James Paul Gee, writer of Woman as Gamers: The Sims and 21st Century Learning (2010).

2) Why does James Paul Gee see The Sims as an important game?

"The Sims is a real game and a very important one because it is a game that is meant to take people beyond gaming"

3) What does the designer of The Sims, Will Wright, want players to do with the game?

"Empower people to think like designers, organise themselves around the game and learn new skills that extend beyond the game, and to express their own creativity".
4) Do you agree with the view that The Sims is not a game – but something else entirely?

The game has led to communities being built around the game on different platforms, but I disagree. I think that it is just a game, but it has revolutionised modding in games, so it is something bigger for the whole gaming community in general.

5) How do you see the future of gaming? Do you agree with James Paul Gee that all games in the future will have the flexibility and interactivity of The Sims?

I don't think so, because not all games will allow for as much flexibility to mod games. Not all games will take off like The Sims and have this giant participatory culture, it rarely happens and mostly only happens for AAA titles that come out every few years, simply because its easier as they have a larger following and are more likely to be polished, so it will attract more consumers.

Metroid Prime 2 Echoes

Metroid Prime 2: Echoes - blog tasks

Create a new blogpost called 'Metroid Prime 2: Echoes case study' and complete the following in-depth tasks.

Language

Analyse the game cover for Metroid Prime 2: Echoes (above).

1) How does the cover communicate the genre of the game?

They use weapons to tell the audience that it will be an action packed game. There is a massive canon on Samus Aran's arm which suggests that she is a dominant character. They also use a range of different locations on the back of the cover to help suggest to the audience that it is an adventure game.

2) What does the cover suggest regarding gameplay and audience pleasures?

One of the pleasures would be diversion. Since its just a game, people play it for fun and escapism. Also, they might also play it for personal relationships because it is a franchise and those who have played it might of developed a relationship with Samus Aran. This also links to Scott Rigby's theory where people will play video games for relatedness and competence. Since they have been playing the game for a long time, the would have developed a skill which would make them want to play the game even more.

3) Does the cover sexualise the character of Samus Aran? Why/why not?

it does because her body is fully ciovered with a body armour.

Trailer analysis

Watch the trailer for the game:




1) What do you notice about genre?

The genre is action by seeing guns and firing.

2) How is the character introduced? Is Samus Aran obviously female?

introduced by gameplay 

3) How can we apply Steve Neale’s genre theory that discusses “repetition and difference”?

It has the same old videogame story like usual videoagmes.

Gameplay analysis

Watch the following gameplay clips again:





1) What does the gameplay for Metroid Prime 2: Echoes involve?

puzzle solving and action.

2) Write an analysis of the media language choices in the construction of the game: e.g. genre, narrative, mise-en-scene, camera shots etc.


The HUD is not of a typical fashion as it is something both you and the character can see, meaning it becomes more immersive as the ammo, weapons etc is all show through the likes of helmet UI. Whereas in most games it is made as a thing only the player can see.

The Sci Fi genre is maintained throughout by the space the character moves in.

3) Analyse the clips for audience pleasures, applying audience theory and considering media effects.
Diversion theory could easily be applied as this product is created MAINLY for diversion, for people to escape and immerse themselves into another world.

Audience

Research the audience for Nintendo and specifically the Metroid franchise, including Metroid Prime 2: Echoes. You may wish to start with the following pages:

Reddit discussion of why people play Metroid
Giant Bomb forum: Who exactly is Nintendo’s demographics?
Reset Era: Nintendo’s audience getting older

1) Who might the target audience be for Metroid Prime 2: Echoes, based on your research? Discuss demographics and psychographics.
During release most likely kids and teens, but in the current era possibly people in their 20's/30's for nostalgic purpose.

2) How has Nintendo’s audience changed since the original Metroid game in 1986?
Nintendo's audience has changed as people who grew up playing Nintendo will now be much older and may still possibly buy Nintendo products as a form of nostalgia, but a young audience most likely still remains. To this also more women probably play.

3) What audience pleasures are offered by Metroid Prime 2: Echoes or the wider Metroid franchise?
An audience pleasure is diversion and being able to immerse yourself into the game

4) What effects might Metroid have on audiences? Apply media effects theories (e.g. Bandura’s social learning theory, Gerbner’s cultivation theory). 

Read this Gamesparks feature on gaming demographics and answer the following questions:

1) Who is considered to be the stereotypical gamer?
Late Teen Boy.

2) What has changed this?
The gaming gender demographic is a 50/50 split + there is a much wider variety of outlets that can be used to play games on, apart from PC and Console you now have tablets and phones.

3) What role do women play in the videogames market? Quote statistics from the article here.
42% of women own an XBOX or Playstation whereas only 37% of men do.

4) Why are older gamers becoming a particularly important market for videogames producers? How can you link this to the Metroid franchise?
As they have a higher disposable income so therefore they are able to spend more, also it can be easier to draw them in with the use of nostalgia.

5) What does the article suggest regarding audience pleasures and expectations for different generations of gamer?
Audience pleasures are different for everyone, for example kids will require games that are suitable for their age range such as an adult will be able to expose themselves to something more violent or explicit as a use of diversion. 


Industries

Read this Destructoid blog on the Metroid franchise. Answer the following:
1) Why has Metroid never quite fitted with the Nintendo brand?
It's a genre that tends to appeal to nerds aged 15-35 -a demographic that Nintendo often struggles with these days.

2) What franchises have overtaken Metroid in the sci-fi hyper-realism genre in recent years?
New franchises like Halo, Mass Effect, and now No Man's Sky have filled the space where Metroid had dominated back in the NES and SNES eras. Other M was an attempt to keep up with the times, with "the cut scenes and the fast paced fighting that's so popular with the kids these days," but as we know now, that didn't really work out for them.

3) Why does the writer link old boy bands from the music industry to the Metroid franchise? Do you agree with this reading of the brand?
The writer forms this link because he believes they are identical in the way that they are viewed by audiences over time; new, younger generations are more interested in new "popular" music and video games compared to the "classics" once loved by audiences.

4) What is an ‘AAA’ or ‘triple-A game’ in the videogames industry?
AAA is an informal classification used for video games produced and distributed by a mid-sized or major publisher, typically having higher development and marketing budgets.

5) Do you think there will be further Metroid games featuring Samus Aran? Should there be?
There is a new game coming out called Metroid 4, the game before was Metroid: Samus Returns in 2016. I think that Nintendo need to focus on revamping new AAA titles but the Metroid series still gives them big sales. The demographic of 15-35 is one that they struggle with.

Representation

Read this BBC3 feature on Samus Aran and answer the questions below:

1) What was notable about the original Metroid game in 1986?
At first players were led to believe that the hero was a man - the game’s accompanying booklet referred to Samus as a “he”. But those who completed the game fast enough were in for a shock: at the end Samus revealed herself to be a woman.

2) What were the inspirations behind the gameplay and construction of Metroid?
Developers took inspiration from genre-definers like Mario and Zelda, as well as the film Alien. They further developed the weapon and armour upgrade system used in Zelda, and took the pioneering step of allowing players to explore at will by backtracking and revisiting areas of the map.

3) Why are the endings to the original Metroid considered controversial?
They are controversial because they are considered sexist and diminishing towards women; the faster you play, the skimpier the outfit.

4) What reaction do you think the reveal of Samus Aran in a bikini would have got when the game was first released in 1986? Have attitudes towards women changed?
The reaction would not have been as controversial as it is today, because sexualising women in the media back then was considered normal and almost default. Therefore, this would have been overlooked by women and glorified by men. This does not however go to say that there would be no backlash, as third wave feminism in the late 80's was a growing movement. Today, attitudes have definitely changed and there would be far more controversy. 

5) How have later versions of the Metroid franchise sexualised the character of Samus Aran?
-Tight outfit with heels in a Super Smash bros game

6) How can we apply Liesbet van Zoonen’s work to Samus Aran and Metroid?
-van Zoonen's theory that gender is constructed through the media links well, as Samus Aran's body movement and exaggerated curvy figure suggest her femininity, meaning Nintendo have dictated to the audience what exactly female traits consist of. 
-Furthermore, these representations do fit cultural contexts, further supporting van Zoonen's theory
-Samus Aran's body being sexualised and exploited links to the idea that the objectification of the female body is a key construct of western culture
-van Zoonen say's that women have to be like men to be treated equally; perhaps Nintendo setting Samus Aran's character up initially as a male and presenting her as a male links to this idea.

7) What did Brianna Wu suggest regarding the character of Samus Aran?
Transgender gaming commentator Brianna Wu has argued that Samus is transgender too, further demonstrating the characters appeal to gamers with gender agendas.

8) Do you see Samus Aran as a feminist icon or simply another exploited female character?
My perspective can see both sides of the spectrum; on the one hand, I am able to see how presenting her body and sexuality as a prize by removing her clothing as a rewards system is completely degrading to all women, suggesting that our bodies are for the desire of males. However, it is also difficult to ignore that as a female protagonist in a sci-fi intense game, she is seen as a powerful figure which many may look up to.

Read this Houston Press feature on Samus Aran and entitled male gamers. Answer the following questions:



1) What does Anita Sarkeesian suggest regarding Samus Aran?

The faster you beat the game the more naked Samus will appear in the ending, with usually the best ending involving a two-piece bathing suit.  Sarkeesian points out that the female reveal sort of pales as Samus’s increasingly naked body is used as a reward for male skill.

2) Why does Brianna Wu (and others) suggest Samus Aran may be transgender?

 Samus was originally portrayed to be 6’3” and more muscled in her appearance.

3) Why is Samus Aran useful for male gamers trying to argue videogames are not sexist?


Her character is always used as an example for an argument.If you question the number of female protagonists you’ll get a list that will virtually always start with Samus as a counter-argument. 

4) Why are Lara Croft, Zelda and Peach not ideal examples to argue for female equality in videogames?

Lara Croft will always be haunted by her cartoonish, sexual appearance in early games.

5) What does the ‘SJW’ in ‘SJW-gender politics’ refer to?

Social justice warrior (SJW) is a pejorative term for an individual who promotes socially progressive views, including feminism, civil rights, and multiculturalism, as well as identity politics.

6) How can we apply Gerbner’s Cultivation theory to representations of women in videogames as discussed in the article? How might this lead to ‘entitled male gamers’? 


7) Does the videogame industry have a problem with gender? Provide evidence for your argument.

I think there has always been a problem with gender and i don't think that there will ever be a point where gender won't be an issue as there are always problems occurring with gender whether it be that women are sexualised too much etc

Henry jenkins fandom

Factsheet #107 - Fandom

Use our Media Factsheet archive on the M: drive Media Shared (M:\Resources\A Level\Media Factsheets) to find Media Factsheet #107 on Fandom. Save it to USB or email it to yourself so you have access to the reading for homework. Read the whole of Factsheet and answer the following questions:

1) What is the definition of a fan?

Fans do more than just like or even love a particular media text, ‘true fans’ have a devotion that goes beyond simply consuming media texts, and is, as Matt Hills argues, part of a person’s identity in much the same way as gender, class and age define who we are.

2) What the different types of fan identified in the factsheet?

• Hardcore Fans 
• Newbie Fans
• Anti-Fans

3) What makes a ‘fandom’?

Fandoms can be described as ‘passion that binds enthusiasts in the manner of people who share a secret — this secret just happens to be shared with millions of others.’ Fandoms can be narrowly defined and can focus on something like an individual celebrity, or be more widely defined, encompassing entire hobbies, genres or fashions.

4) What is Bordieu’s argument regarding the ‘cultural capital’ of fandom?

Big media businesses are exploiting their fans for profit, as fans will do all they can to support the show and talk about it.

5) What examples of fandom are provided on pages 2 and 3 of the factsheet?

The Lord of the Rings has intensified following the release of Peter Jackson’s film versions, leading many to conclude that the Hobbits and in particular Frodo Baggins and his servant and companion, Samwise Gamgee are homosexual. Such readings have also intensified through fan-fiction, and in particular the sub-genre of ‘slash fiction’, which focuses on depicting same-sex relationships between characters such as Frodo and Sam or Star Trek’s Kirk and Spock.

Tomb Raider and Metroid fandom research

Look at this Tomb Raider fansite and answer the following questions: 

1) What types of content are on offer in this fansite?

There is  game news, save files, cheats, support, screenshots, levels, collectibkes and wallpapers.

2) What does the number of links and content suggest about the size of the online fan community for Tomb Raider and Lara Croft? Pick out some examples from this page.

Different sits available for the Lara Croft community shows how diverse the community is for the Lara Croft franchise.

3) Scroll to the bottom of the page and look at the short ‘About me’ bio and social media updates. Is this a typical example of ‘fandom’ in the digital age? Why?

I think that the fandom community is shown in the tomb raider site very well as it shows the old sense of the community but also the different outlets the community has to share its views and beliefs.

Now look at this Metroid fansite and answer the following: 

1) What does the site offer?

This website is Metroid fansite which provides it's audience with information about Metroid Character Changes as well as providing interviews and q&as for their audience to interact with. The website is similar to the Lara Croft website besides featuring other fansites were they have an active social media page with content being uploaded daily.

2) Look at the Community Spotlight page. What does this suggest about the types of people who enjoy and participate in fan culture?

The Community Spotlight page is a page for the hardcore fans which go beyond just consuming the media product and go out their way to further engage themselves with the product, e.g. through cosplay, art and music. These people can also be identified as true fans.

3) There is a specific feature on Metroid Prime 2: Echoes. What do the questions from fans tell you about the level of engagement and interest in the game and franchise from the fan community?

The questions the fans ask go beyond the normal 'gamer' questions as they are more focused on specific parts of the game which only a handful of fans would understand and find interesting. Some questions also include asking for statues of Samus to be made and puton sale which reflects the hardcore fan behaviour.

Henry Jenkins: degree-level reading

Read the final chapter of ‘Fandom’ – written by Henry Jenkins. This will give you an excellent introduction to the level of reading required for seminars and essays at university as well as degree-level insight into our current work on fandom and participatory culture. Answer the following questions:

1) There is an important quote on the first page: “It’s not an audience, it’s a community”. What does this mean?

The audience are a group of people united as they are all doing the same thing, taking interest in the same thing, and they are all able to share similarities and raise questions.

2) Jenkins quotes Clay Shirky in the second page of the chapter. Pick out a single sentence of the extended quote that you think is particularly relevant to our work on participatory culture and the ‘end of audience’ (clue – look towards the end!)

 the idea of a fandom was for consumers to take anything that is thrown at them and not necessarily become fanatic about it.

3) What are the different names Jenkins discusses for these active consumers that are replacing the traditional audience?

connectors or influencers

4) On the third page of the chapter, what does Wired editor Chris Anderson suggest regarding the economic argument in favour of fan communities?

Anderson argues that investing in niche properties with small but committed consumer bases may make economic sense if you can lower costs of production and replace marketing costs by building a much stronger network with your desired consumers.

5) What examples does Jenkins provide to argue that fan culture has gone mainstream?

harry potter 

6) Look at the quote from Andrew Blau in which he discusses the importance of grassroots creativity. Pick out a sentence from the longer quote and decide whether you agree that audiences will ‘reshape the media landscape from the bottom up’.

"The media landscape will be reshaped by the bottom-up energy of media created by amateurs and hobbyists as a matter of course." I agree with this quote and consumers are can now create and publish their own products online and create profit. 

7) What does Jenkins suggest the new ideal consumer is?

 A person who talks up the program and spreads word abut the brand.

8) Why is fandom 'the future'?

Its because media companies cannot operate without them as they are the reason why they still exist.

9) What does it mean when Jenkins says we shouldn’t celebrate ‘a process that commodifies fan cultural production’?

It means that they will sell it back at us with a considerable mark up.

10) Read through to the end of the chapter. What do you think the future of fandom is? Are we all fans now? Is fandom mainstream or are real fan communities still an example of a niche media audience?

I believe that it is definitely growing and will continue to but at a slow pace. This is because fandom will remain niche as there are not many audiences that full engage with with media texts

Tom Raider CSP

Language and Audience

Analyse the game cover for Tomb Raider Anniversary (above).

1) How does the cover communicate the genre of the game?

The cover shoes props like guns which show the genre is action.

2) How does the pose and costume of the character appeal to primarily male audiences?

The femine pose and minimum clothing of lara croft can suggest the sterotypical look of females and appeal to male audience.

3) How might the cover be read as empowering for female gamers?

This si because there has been no female protagnist in the gaming industry.

Gameplay analysis

Watch the following gameplay clips again:



1) What does the gameplay for Tomb Raider Anniversary involve?

third perpective  view
more cinematic
cut scenes and more action

2) Write an analysis of the media language choices in the construction of the game: e.g. genre, narrative, mise-en-scene, camera shots etc.

The genre is action seen by the location of the game and the narrative is about the female protagnist trying to save her life.The cut scenes can be seen charcters expressions and perspective fo the charcter.

3) Analyse the clips for audience pleasures, applying audience theory and considering media effects.


Representations

Read this NME feature on the evolution of the character of Lara Croft. Answer the following questions:

1) Note the statistics in the opening paragraph.

2) How does the article describe the cultural change in society and the media since the early 00s?

It talks about change of euality for women.

3) How was the original 1996 Lara Croft received by audiences and critics?

it was received good feedback from the audience as it shows strength for a women.

4) What did the 2013 re-launch do differently – and how successful was it?

IT did not show lara croft as an sex object.

5) How is ‘woke Lara’ defined in the conclusion of the feature?

defined as  lightness, intelligence, recklessness, courage and physical ability.
Now read this feature – Tomb Raider’s Lara Croft: feminist or femme fatale? 

1) Why is Lara Croft considered a “polarising figure among gamers”?

This is because people debate saing that this is only for male attention.

2) How did the limitations of game construction in the 1990s help to establish the way female characters were animated?

This is because they couldn't show the movement for the female charcters.

3) Why were Lara Croft’s physical attributes emphasised in the original games?

This is because it was more appealing to male audience.

4) How does Anita Sarkeesian describe Lara Croft?

She describer her as a hyper sexual character.

5) Why has Lara Croft’s appearance and characterisation changed over time?

This si because gaming has developed and more natural movemenmts can come now than before.Industries

1) Why is Lara Croft such an iconic figure in the gaming industry?

First female protagonist.

2) What products and spin-offs have featured Lara Croft or the Tomb Raider brand?

filmimg star.advertismenets and tv series shwoing lara croft charcter.

3) Why might Lara Croft be considered a postmodern icon?

This is because she has been well known for a period of time.

4) Why is Tomb Raider Anniversary a 'case study in conglomerate ownership'?

The franchise is massive and has grown in the two decades.

further feminist theories

1) What definitions are offered by the factsheet for ‘feminism ‘and ‘patriarchy’?

Feminism is a movement which aims for equality for women
patriarchy is a limitation to women receiving the same treatment and benefits as their male counterparts.

2) Why did bell hooks publish her 1984 book ‘Feminist Theory: From Margin to Center’?

She had identified a lack of diversity within the feminist movement, and argued that these diverse voices had been marginalised, being put outside the main body of feminism.

3) What aspects of feminism and oppression are the focus for a lot of bell hooks’s work?

she focuses on TV,film and advertising.

4) What is intersectionality and what does hooks argue regarding this?

Intersectionality is used to describe overlapping or intersecting social identities and related systems of oppression, domination or discrimination. Its meaning is that multiple identities intersect to create a whole that is different from separate component identities

5) What did Liesbet van Zoonen conclude regarding the relationship between gender roles and the mass media?

Her work puts her as a key figure in third wave feminism. Van Zoonen concludes that there is a strong relationship between gender (stereotypes, pornography and ideology) and communication, but it is also the mass media that leads to much of the observable gender identity structures in advertising, film and TV.

6) Liesbet van Zoonen sees gender as socially constructed. What does this mean and which other media theorist we have studied does this link to?

This means that media has made certain stereotypes for gender roles and have given them restrictions in terms of what to do which likes with Judith butler.

7) How do feminists view women’s lifestyle magazines in different ways? Which view do you agree with?

They view of is that it is an exaggeration of femininity and the objectify women throughout with the products and make a certain body image of a women which other women need to follow inn order to get men attracted to them.

8) In looking at the history of the colours pink and blue, van Zoonen suggests ideas gender ideas can evolve over time. Which other media theorist we have studied argues this and do you agree that gender roles are in a process of constant change? Can you suggest examples to support your view?

Pink for femininity and blue for Masculinity was built in the 19th century and this is supported by other theorist like Judith butler as genders are constructed by society which is quite true in my opinion because  i believe that people tend to follow rules and regulations which are set by the society and have made an image in their head.

9) What are the five aspects van Zoonen suggests are significant in determining the influence of the media?

• Whether the institution is commercial or public
• The platform upon which they operate (print versus digital media)
• Genre (drama versus news)
• Target audiences
• The place the media text holds within the audiences’ daily lives

10) What other media theorist can be linked to van Zoonen’s readings of the media?

Stuart hall and his readings of negotiated and preferred readings.

11) Van Zoonen discusses ‘transmission models of communication’. She suggests women are oppressed by the dominant culture and therefore take in representations that do not reflect their view of the world. What other theory and idea (that we have studied recently) can this be linked to?

hall's theory of media construction is that audience will interpret text in their own perspective.

12) Finally, van Zoonen has built on the work of bell hooks by exploring power and feminism. She suggests that power is not a binary male/female issue but reflects the “multiplicity of relations of subordination”. How does this link to bell hooks views on feminism and intersectionality

This links to bell hooks views because it discusses the power that both gender has and discusses how bring other intersections will bring in power.