Homework answers / question archive / ENGL 110 Essay 4: Reshape & Reflect Overview Select one of your previous 3 essays and reshape it so that your argument is presented in a professional genre of your choice, then write a short reflection paper on the rhetorical choices you made in the process

ENGL 110 Essay 4: Reshape & Reflect Overview Select one of your previous 3 essays and reshape it so that your argument is presented in a professional genre of your choice, then write a short reflection paper on the rhetorical choices you made in the process

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ENGL 110 Essay 4: Reshape & Reflect Overview Select one of your previous 3 essays and reshape it so that your argument is presented in a professional genre of your choice, then write a short reflection paper on the rhetorical choices you made in the process. Timeline ? Feedback Week: Week of 4/26 ? As with our previous assignments, there will be a spot on Bb to turn things in for written feedback. Unlike previous assignments, this does NOT need to be a draft, or even working notes. It can be those things, or it can be something as simple as a short proposal explaining your idea. As with our previous units, you will have the option to set up a Zoom appointment with me to discuss. ? Final Draft: Due 5/9 ? You will be turning in two things for your final assignment: 1. The reshaped paper in its new genre and 2. Your reflection on the process. These will be turned in to the same spot on Bb and will be graded together as Assignment 4. Assignment Description Part 1: Reshaped Paper From neoliberal femininity to laddism to categories of rhetoric, you've covered a lot of complex tasks so far this semester—be proud of the work you've done! Assignment 4 is designed to let you look back on one of the 3 papers you've written so far and reshape it into a polished final product in a different genre than the academic style paper we've been working on this semester. As we discussed at the start of the semester, academic writing is a specific genre of communication. It has its own conventions, which we have practiced throughout the semester. Our goal has not been to simply master these conventions. Rather, the point of our work has been to understand why these conventions exist—how they deliver on universal communication goals of clarity, organization, impact, etc. In other words, things like introductions, conclusions, mapping statements, etc. may not appear in all genres, but the purposes they serve do. Many of the techniques that we've discussed (such as metacommentary) carry over into any genre of communication. For this assignment, you will select one of your previous papers and one genre of writing/communication that you are familiar with through your professional lives. Your task will be to use this chosen genre as the new vehicle for your paper's argument. For genres, think back to our first discussion boards from Unit 1, and take another look at "W-1 Writing Contexts" from The Little Seagull Handbook under the They Say I Say tab on Bb for a refresher. Think of forms that will allow you to express the full argument of your paper. Genres such as reports or PowerPoints could work well, while a genre such as an email would be too short. 2 In summary, your reshaped final assignment should do the following: 1. Take the core argument of one of your previous papers as well as its supporting points and express them in a new genre of your choosing. You may tinker with your paper's argument if you desire. 2. The new product should follow the genre conventions of the genre you've chosen while following our main writing principles of clarity and organization. NOTE #1: You have a lot of freedom here, but I do want the genre you chose to be a professional writing genre. By which I mean any sort of formal, nonfiction genre. It would be very interesting to try to shape an academic paper into a creative genre such as a poem or a play, but that is not what I am asking you to do in this class. You might check out some of the other short chapters in The Little Seagull Handbook for ideas (there are chapters on presentations, reports, and proposals that might be helpful). If you are having difficulty thinking of a genre, schedule a Zoom conference with me and we can brainstorm together. NOTE #2: There's really no way for me to give length requirement for this assignment since I do not know what form your reshaped paper will take. As with previous papers, your content should be of a length that reasonably lets you communicate everything you have to say. Part 2: Reflection Write a reflection in which you address the following topics: 1. Why you chose your genre. 2. Some of the key features (conventions) of your genre. 3. The specific moves you did to reform your paper to fit these conventions. 4. As assessment of the strengths and limitations of the new genre to represent your argument. Before writing your reflection, watch this hyperlinked YouTube video on metacognition. It's a bit goofy, but it's important to help us understand why reflections are a critical part of learning. In essence, metacognition (thinking about thinking) allows us to move beyond declarative and procedural knowledge to generate conceptual knowledge of a topic. This goal is the first purpose of the reflection. The second purpose of the reflection is practical: I likely will not have the same level of knowledge about your chosen genre as you do. I'll need you to tell me exactly why you did the things you did. In a sense, you can think of your reflection as a justification for your work. NOTE #3: For length, I would expect that it will take you at least 500 words to address the questions listed above. This is not a formal requirement; it is just a guess on my part. It may be that you need less or (more likely) that you need even more room to fully explain your work. 3 NOTE #4: Your reshaped paper and your reflection will be graded together as your Assignment 4. They will have the same turn-in spot. If you need to turn in two different document types (for example, a PowerPoint and a word doc for your reflection) you should be able to upload both separately to the turn-in spot. Feminism and Neoliberal Femininity Zead Alharbi Introduction Sherman's essay analyzes the tension between feminism and neoliberal feminism in the movie Miss Congeniality. The film Miss Congeniality is about a lady, an FBI agent called Grace Hart, who does not believe in feminism, and she wears clothes that make her look like a man (Sherman, 2011). She has to go undercover as a beauty pageant contestant, and she has to dress up like a lady and apply makeup. During this time, she learned and understood what feminism meant and how she can use it to her advantage (Sherman, 2011). At the end of the movie, Grace, hart solved the case and learned that beauty and brains could coexist; one does not have to possess only one trait. Grace also learned that feminism is liberating, giving women space to be who they want to be without any restrictions (Sherman, 2011). Yael Sherman describes feminism as a way women use to increase their chances of getting a husband by making their appearance pleasing to men's eyes (Sherman, 2011). Women are required to look good and behave appropriately to get a husband. Yael Sherman also describes feminism as a tool that women use to control women to do what they want. She suggests that feminism is a tool that women use to hide their intelligence and make themselves look vulnerable. This appeals to the men and also keeps the men happy. Neoliberal feminism is the opposite of what feminism is. In neoliberal feminism, women have disputed that women were only born to please men. That women have to sacrifice their lives and do whatever pleases their husbands or potential husbands. In neoliberal feminism, women believe in pursuing what they want and love. They believe they are responsible for their life and mistakes, and they have to be independent in making decisions about their lives (Sherman, 2011). Neoliberalism is a mixture of the traditional form of feminism and neoliberalism feminism which empowers women to be liberated from men because it is possible. In both instances of feminism, it is clear that women are fighting for equal rights and opportunities as men. They are fighting for what they deserve that they have been deprived by gender inequality (Sherman, 2011). Analysis of the Film Hidden Figures Hidden figures is a film about three African American women who mathematicians employed by the National Aeronautics and Space Administration (NASA) in the 1960s (Shetterly, Conkling, & Freeman, 2018). Katherine Johnson calculated the flight trajectories for projects like Project Mercury. Dorothy Vaughan, a supervisor in NASA, and Mary Jackson, an engineer at NASA (Shetterly, Conkling, & Freeman, 2018). These women not only face gender inequality they also face segregation at work. Katherine's talent in mathematics was noted by a white supervisor called Mitchell, who appointed her to work with white men in the Space Task Group. She used her vast knowledge in geometry to calculate the flight trajectory of spaceships. She faced a lot of rejection from those in the team due to her gender and race (Shetterly, Conkling, & Freeman, 2018). Mary Johnson noticed a design flaw in one of the space capsules, and her supervisor encouraged her to report the defect (Shetterly, Conkling, & Freeman, 2018). She applies for an engineering position, but she is given a condition by her supervisor, Mitchell. Mary had to go back to school to add to her mathematics and physical science degrees a few courses. This is after the opposition from her husband, but she did not listen anyway. Dorothy taught herself to code and use an IBM 7090 computer and taught her coworkers Fortran (Shetterly, Conkling, & Freeman, 2018). She was able to start the computer, and she was given work to be a supervisor of the programming department. She brings along her coworkers whom she taught Fortran to help her work in the programming department. Neoliberal Feminism and Feminism in Hidden Figures These three women had already defied the odds when they became mathematicians, something that was a man-centered field. Many African American women during the 1960s opted to stay home and get married to raise their children. These three women went to school to get their degrees, and they ended up getting jobs at NASA. They empowered themselves and made a career for themselves when women, especially African American women, were not empowered to believe in themselves (Delastuti, 2017). Katherine, Mary, and Dorothy decided not to follow traditional feminism by being homemakers; they opted to grow their careers doing what they love best. In traditional feminism, women were expected to be respectful and never speak up against situations that are not in favor of their rights. Harrison was an engineer who worked alongside Katherine, and one day he confronted Katherine about why she was taking very long toilet breaks. Katherine told him about the toilet situation where she had to go far to get a toilet meant for African American women (Delastuti, 2017). This resulted in the end of toilet segregation in the building Katherine was working in. this enabled her to go for shorter toilet breaks and get more time to do her work. If Katherine did not speak out, she would still be going for long toilet breaks giving her little time for her work. Neoliberal feminism encourages women to take action because women are responsible for their actions. They do not have to do anything to please a man. Mary Johnson wanted to be an engineer in NASA, but she did not have all the required skills to become an engineer (Delastuti, 2017). Mary had to go back to school to learn the missing skills in a white-only school. She took her case in court, and she was granted permission to attend night classes in Hampton High School (Delastuti, 2017). Her husband was against this decision, but Mary went ahead to pursue her studies. In traditional feminism, Mary would have listened to her husband and not pursue further studies. Without empowering herself, Mary would not have been able to fulfill her dream of becoming an engineer. If Mary could have decided to become a stay-at-home mother, she would not have become the first African American engineer at NASA. Dorothy Vaughan taught herself Fortran and knew how to operate an IBM 7090 computer. She did not have access to the Fortran book, but she stole the book from the white section of the library, taught herself how to operate the computer, and taught her coworkers (Delastuti, 2017). Dorothy knew her coworkers would need the skill at some point in their career. She went to the computer room and helped in starting the computer. She got a promotion and went with 30 of her coworkers whom she taught Fortran. Her promotion, unfortunately, did not come with privileges like a pay rise or even the title of a supervisor (Delastuti, 2017). She worked hard till her supervisor, Mitchell, showed Dorothy respect. She struggled to get the position. She did not wait around for a promotion; she went looking for it when she taught herself Fortran and went to help out in the computer room. Dorothy showed what women are capable of anything they set their mind to by overcoming all the obstacles they face. Conclusion The film shows that neoliberal feminism is not all bad; it can guide women to get what they want. Traditional feminism required a woman to wear and behave in a manner that could attract possible suitors. They had to do everything that men want only to please men. In neoliberal feminism, women empower themselves to be independent and to work for everything they desire. Sherman describes both traditional and neoliberal feminism as a consequence of gender inequality that women face in their daily lives. Hidden Figures is a film that portrays three African American women who work in NASA, a white male workplace. They face discrimination from both white men and women who do not believe they deserve to work at NASA. Katherine's talent in geometry allowed her to work and design a flight trajectory for many space shuttle missions to the moon. Dorothy was the first African American supervisor in NASA in the programming department, and Mary ended up being the first African American woman engineer in NASA. This movie shows that neoliberal feminism helps women become who they want to be without relying on any man or anyone's approval. References Delastuti, D. (2017). The Representation of Female Characters as Black Feminists in Hidden Figures Movie (Doctoral dissertation, Diponegoro University). Sherman, Y. D. (2011). Neoliberal Femininity in Miss Congeniality (2000). Feminism at the Movies: Understanding Gender in Contemporary Popular Cinema, Londres: Routledge, 80-92. Shetterly, M. L., Conkling, W., & Freeman, L. (2018). Hidden Figures. HarperCollins. The Linguistic Rhetoric in American Son Zead Alharbi The Linguistic Rhetoric in American Son American Son is a provocative, emotional, and bold adaptation of Christopher DemosBrown's school play that displays American modern race relations. The American Son revolves around conversations between five characters representing blacks and whites in one primary setting. The film focuses on a singular scene, the police station, where an estranged interracial couple, Kendra and Scott, wait troubled by the disappearance of their teenage son, Jamal. After a heated argument with his mother, Jamal leaves in his car and does not inform Kendra of his whereabouts through the night. Kendra reports the incident to the police, who, throughout the film, provide very little help and instead agitate her further. Relative to bell hooks's remarks, the American Son has multiple standpoints expressed through the detailed conversation between the interracial couple and the white policeman. It combines conservative and revolutionary viewpoints that require extensive attention to detail if one wishes to understand the film’s themes. Consequently, the movie’s complexity demands one to understand and read beyond the images portrayed, which often deviate from the real meaning. Jennifer Ryan-Bryant’s analysis of Get Out echoes bell hooks's guidelines on film analysis illustrated through her evaluation of the linguistic rhetoric. Ryan-Bryant explains that code talking in Get Out demonstrates the tension between black defiance and white exploitation. Moreover, she argues that extended conversation and speech forms are applied to allow the audience to linger more on terms that indicate white supremacy and modern black slavery. Like Get Out, the American Son employs linguistic rhetoric to portray the adverse effects of black stereotyping, racial segregation, and white supremacy. Application of the Linguistic Rhetoric The linguistic rhetoric's essence is displayed in the first conversation between Jamal’s mother and the white policeman. This exchange's importance involves symbolizing the intensity of black stereotyping within American law enforcement that often limits African-Americans from experiencing justice. According to the American Dream, black Americans are also American citizens who should enjoy equality and acquire opportunities across all segments to enhance their aspirations and goals. Through this conversation, the audience notices that African Americans are still broadly limited in experiencing the American Dream, especially in the concept of law and justice. After Kendra persuades the policeman to take details regarding her son’s disappearance, the latter begins questioning her on Jamal’s prior record. He ponders significantly on this matter, appearing surprised that Jamal has not been arrested before, given that he is black. “Any priors? Has he ever been arrested before? Does he have a juvenile record? Not even trespassing? Petty theft?” (Leon, 10:00-21:00) Consequently, the white policeman implies that Jamal must have a street nickname stemming from the notion that black people are gangsters or are involved in crime. He mentions names like “black,” “Pookie,” “peanut,” and “Junebug.” Ironically, the policeman suggests that Jamal must have some type of physical identification such as tattoos, gold teeth, and scars. When Kendra states that her son has one scar on his stomach, the policeman assumes it occurred from a gang fight. Such black stereotyping incidents often showcase African Americans as villains rather than victims when involved in an incident with law enforcement agents. Arguably, the film focuses extensively on the conversation between the somewhat ignorant white policeman and Kendra, an African American, to signify the “lie” in a post-racial America. When the policeman returns to give Kendra more intel regarding Jamal, he only mentions that there has been an incident and appears reluctant to give her the assistance that she deserves. Kendra notices this, and driven by her anguish, she specifically asks him if he has any children and if any are black. “Do you have any black son who may be sitting in police custody?” he responds, “no, I have two young white daughters.” Kendra calmly says, “then let’s skip the empathy tactic because you have no idea” (Leon, 21:00-25:00). From this point, the audience feels the significant alienation between blacks and whites from the white policeman’s comments and reactions. Consequently, the prolonged conversation between Kendra and the policeman shows the terror of black Americans re-living the dark history of slavery. It also insinuates that ending slavery was more of a favor from whites to blacks than a deserved right. For instance, when Kendra asks for water, the policeman specifies that there are two water fountains based on the building being very old, and Kendra cuts in sharply, “Segregated?” “Ironically, the white policeman continues to explain, “above one water fountain, there is a commemorative plaque dedicated to the Big Five.” “Kendra quickly corrects him, “you mean the Big Six,” and the policeman responds, “yeah, yeah, Abernathy and, uh…I can’t remember all of them. It’s just the history” (Leon, 25:00). Kendra looks at him appalled, exactly how the viewer may react to such ignorance. The linguistic rhetoric portrays that although numerous initiatives and talks are displaying America as a post-racial nation, minority populations are still treated as less important; the dominant white race holds the most power. There are extended speeches between Kendra, the lieutenant, and her husband, displaying the significant extent of racial segregation in America. At some point, Scott asks Kendra to stop overthinking the situation, given that they are in Miami and not a backward county in South Carolina, and she interjects, “where my black, PhD-having ass, still has to drive down something called ‘South Dixie Highway’ to get to work” (Leon, 43:00). This demonstrates that black people are still broadly discriminated against regardless of their extensive economic and social contribution. In a later conversation with the lieutenant, an African American, the latter mentions, “It tells me that the world is not the same for people who look like you and me.” “This statement shows again how black people must behave in a white-dominated society to avoid trouble. The lieutenant was referring to a bumper sticker that Jamal had on his car that stated, “Shoot all cops with your camera phone whenever they make a bust.” “He emphasizes that such actions will only continue to place black people in danger, and they should instead bow to existing laws. Consequently, the lieutenant tells Kendra to raise her son differently, “and make sure he understands that for us, there ain't no American Dream ”. In the film’s mid-section, Kendra’s husband, Scott, arrives at the police station, and the viewer can depict several issues in their conversation that depict the placing of African Americans in society. For instance, when Scott questions Kendra on why she was uncomfortable allowing Jamal to travel with his friend, she answers, “It was the prospect of him driving through the Deep South. My son alone with a white boy ” (Leon, 53:00). She says one of the things that make her restless are the thoughts of Jamal not fitting in or being viewed as an outsider, illustrated by her words, “I imagine some guy with a swastika tattooed to his biceps, had a little too much to drink and doesn’t like the look of this boy, who is poisoning the country’s racial purity” (Leon, 86:00). Before this explanation, Scott thought that she was over-protective of Jamal because he was too young and not because of his racial background. Kendra’s statement shows that black Americans have not been fully accepted into society and only themselves can understand, as white people often overlook these things. The linguistic rhetoric is used systematically in American Son to portray modern race relations and address the limitations of living the American Dream for African Americans. The movie revolves around four characters, two white and two black, whose extended speeches notify the viewer of certain racial discrimination issues. Through Kendra’s speech, the audience understands white supremacy's dominance and the effects on black communities. She speaks passionately regarding the need for a revolution, given that black people work hard to fit in and contribute significantly to economic growth. Ironically, The African-American lieutenant prefers that black people stand down and accept that they will never experience the American Dream. Through the lens of the White policeman and Kendra’s white husband, Scott, viewers feel the ignorance of the white culture towards black people’s problems. Overall, the linguistic rhetoric in American Son signifies movies as effective communication tools that drive and inspire action. Reference The American Son. (2019). Directed by Kenny Leon. Netflix 40-Years-Old Virgin by Judd Apatow Lad flicks, popularly known as lad movies, describe hybrid, romantic and chick flicks that major on tribulations or trials of young men who eventually grow up and become typical men. They debate on the most controversial topic "masculinity." The film explains what it calls to be a real man in the twentieth century; hence, to achieve this, men ought to have grown and forego their juvenile ways to enter into the heterosexual world (Cob, 2017). Among the major lad, flicks is the film: 40 years old virgin by Judd Apatow. The culture has been prominent in the USA and UK since 1990. With the above tools, the main characters face intimidating comments, pressures and insults to change their norm and become the "real men." Notably, this is due to the need to impress their successful female interests. The films are common in the United States than in western countries (Kelly, 2016). Prioritizing masculinity lad flicks movies have created a big distinction between them and other movies. The paper clearly illustrates masculinity with the help of the film “the 40 years old virgin”. Cultural and social norm should not define masculinity. Masculinity Analysis. Andy Stitzer is a 40 years old employer of an electronic shop who lives a loner living in an apartment. The boy enjoys video games and action figures. During the conversion with his coworkers, they realize that Andy is a virgin and suggests helping him lose his virginity. They drag him to various social events and try to set him in a different crossdresser prostitute with embarrassing consequences. David goes ahead and gives Andy a porn collection where he forces him to masturbate. Andy lands a date with Trish, a woman he finds in a sales store. On trying to have sex, they are interrupted by Trish's daughter Maris. They agree to postpone sex for 20 days. Andy visits a sexual health clinic to plan on birth control, where he is mocked and humiliated (Campion, 2018). Trish meets Andy and she tries to initiate sex where Andy refuses. The responses anger Trish, who leaves to meets his friends at a nightclub (Cobb, 2017). Finally, Trish returns to Andy's apartment, where he finds the porn collections. Andy tries to explain but Trish feels that he might be a sexual deviant. In the end, Andy confesses he is a virgin, where Trish responds positively and ends up in a lavish marriage ceremony. In both films, romance offers men a new social environment for emotional disclosure, social disclose and mental stability. In Gill and Hansen's film, the main character has become a male sentient just like the 40-year-old virgin. The film “Lad Flick” clearly illustrates the presence of bromance. Additionally, a 40-year-old virgin clearly shows attention to a wide relationship illustrated by male closeness and homosociality (Rubenstein, 2020). These two films have been widely used to define the close relationship and its functionality. Scenes popularized the term close relationship to explain the increasing emotional relationship expressed by heterosexual men and celebrities. A close relationship can be inherited through social freedoms concerning shared interests like Andy and his friend David. Ambivalence Manifestation. There is an ambivalent concept in the film 40 years old virgin. The concepts clearly illustrate conflicts in various aspects, for example, reproduction, romance, marriage and virginity relative to the cultural understanding of what being an adult is. The film 40 years virgin clearly explains the social process of being raised in the neoliberal network society. However, some scholars and doctors argue that 20th-century has human-centered development (Cobb, 2017).Apatow demonstrates a non-linearity where traditional culture dies, not directly corresponding to a certain age group. Andy's life is a clear illustration of a culture that disrupts the century of heteronormative adulting. Normally, the culture defines adulthood as the ability to reproduce, while the film replaces the notion with unclear evolving life developmental structures. The film has provided a clear nostalgic vision of the 20th century of hetero-normativeness in adulating is not psychologically and economically attainable. The film demonstrates uncertainties about adulthood and the anxiety that the future holds on the orderly aging process. The films show the uncertainties that arise because of world globalization. It also bring out ambivalences of the power of social media in cultural relevance. Stance on Laddish behavior. Positively, the movie supports laddish behavior as Andy realizes that he is okay with being a virgin. However, he prefers that others would not know, and he shies away from the fact. Nevertheless, he strays hard to hold up for the right woman. Trish shows the positivity of being a virgin at an older age. She illustrates this by advising her daughter to shun away the same mistake she made in college (Gibb, 2019).Consequently, she advises her to wait until she is in college, a low standard for "waiting." Andy comfortable advises Trish daughters as much as she makes fun out of it. Andy confirms it by insinuating that it is a personal choice and there is nothing wrong with that. Amazingly, Andy remains a virgin until his wedding night, where he honors it marvelously. Resolutions. Consequently, Apatow tries to show a sense of humanity. She vividly explains this when his friends are advising Andy. It is funnier for Andy’s friend giving him terrible advice as he portrays the character of a good man trying to carry out day's activities. The movie also explains how gender wars can turn one into a noncombatant, as Andy is 40 and a virgin. It also explains how culture can manifest one to surround himself with obsession (Rubenstein, 2020). Andy’s strategy of dealing with obsession is by watching action products, video games, high technology tools and drinks. The files also explain the need to forego what one does not understand. Andy concentrates on his working environment and responsibilities and foregoes fake life when his fellow employees spend time speaking about the women he nodes as if he does not understand the language (Rubenstein, 2020). The movie also resolute the influential power of friends. His friend plans a sacred mission to an extent of offering coaching. In conclusion, culture should no be a key determinant of our behavior. Defying what the culture knows is right makes Andy engage in a successful marriage regardless of his unusual states. She finds a woman, Trish, who is real and grown-up (Gibb, 2019). The divorced mother takes Andy regardless of his 40 years as a virgin and tries to support his stance by counseling her daughter to follow Andy’s path. Culture plays a key determinant in the pace of life, which is held not to be encouraged. Trish, who is a window, chooses to take things slowly, a decision that is just fine by Andy as much as he is 40 years old. The lack of experience highly popularized by the culture makes Carell (Andy) dreading the moment rather than anticipating the moment. He declines being carried away by his friends and the societal norm. His friends, who are non-virgins tries to lead him to the Promised Land in order to fit in the society. The film also shows that close relationships and romantic relationships have some similarities as all campaign on searching for companionship. It shows how millennial men do not hold on to embracing their strengths for demonstrative purposes. However, they prefer coming up with a dynamic relationship with other men, just like Andy and his colleagues. He tries to equate this to the notion that heterosexual relationship offers men with social, cultural and emotional support. Reference. Cobb, S., & Negra, D. (2017). ‘I hate to be the feminist here…’: reading the post-epitaph chick flick. Continuum, 31(6), 757-766. Rubenstein, A. (2020). A Sentimental and Sexual Education: Men, Sex, and Movie Theaters in Mexico City, 1920–2010. Mexican Studies/Estudios Mexicanos, 36(1-2), 216-242. Gibb, D. A. (2019). The Return of the 1920s: An Examination of the Twenty First Century Revival. Campion, B. (2018). Casey Ryan Kelly, Abstinence Cinema: Virginity and the Rhetoric of Sexual Purity in Contemporary Film. New Brunswick: Rutgers University Press, 2016. InMedia. The French Journal of Media Studies, (7.1.). Kelly, C. R. (2016). Abstinence cinema: Virginity and the rhetoric of sexual purity in contemporary film. Rutgers University Press.