Alexandra Hidalgo's webtext uses the medium of home video in a mediated conversation between two mothers to explore issues of composition, recomposition, memory, and remediation. Starting from a home video, Hidalgo both makes and embodies an argument for investigations of home video that complicate notions of amateur versus professional production and projections of editing or its apparent absence, while also raising questions about the intersections of domestic life and technological history.

Winner of the 2017 Computers and Composition Distinguished Book Award Cámara Retórica: A Feminist Filmmaking Methodology for Rhetoric and Composition is a video book comprised of six video-essay chapters that connect film and video production, feminist filmmaking, and Rhetoric and Composition. Drawing from interviews conducted with ten faculty and graduate students in the field who produce and teach the production of moving images, as well as original footage and clips created by rhetoricians and filmmakers, Cámara Retórica weaves a visual and aural tapestry that performs the kind of feminist, moving-image scholarship it argues can be transformative for Rhetoric and Composition.

In this webtext, Hidalgo and Grimes respond to Kristine Blair’s call to make online spaces more hospitable to women’s social professional and political goals by developing six social media guidelines rooted in feminism. They argue that feminism provides key insights on how to create online communication styles that foster positive and productive interactions.

PROVOCATIONS is a Computers and Composition Digital Press (CCDP) series focused on peer-reviewed, open-access projects that have the same specific gravity as a short monograph, but take the form of experimental genres, fruitful and unusual collaborations, and/or mediated, born-digital formats. PROVOCATIONS projects offer new scholarly perspectives, challenge current understandings of our field, and suggest new approaches to the work we do.

Alexandra Hidalgo , Purdue University Enculturation : http://www.enculturation.net/national-identity ( Published: June 18, 2012 ) THE SHRINKING B Figure 1: Toy store advertisement Growing up in Caracas, Venezuela, in the 1980s, I knew that the greatest accomplishment for any woman would be winning the Miss Venezuela beauty contest. I didn’t dare dream I would ever compete, however. My legs were too thick and my “potato nose,” as my cousin disdainfully called it, was bound to outrage the judges. By the time I became a teenager, the list of anatomical crimes committed by my body could cover a few pages of rampant (and I’d later learn nonsensical) dissatisfaction. However, my breasts never made it on the list. Sure, as a B-cup I didn’t turn heads with my cleavage, but it didn’t matter. So few of my classmates had any cleavage to speak of. B-cups were the norm in my school, and we had other things to obsess over, like split ends and slightly protruding bellies. Things that could actually be altered. In 1993, when I was 16 years old, I moved to Dayton, Ohio, and have since returned home every other year to find that my breasts are shrinking. It started slowly, but about 12 years ago it exploded. Cs and Ds and other letters I’d never heard of in relation to bras were parading up and down the streets, making my Bs look incongruously small. The unalterable was being altered everywhere I looked. One by one my dearest friends chose to have breast implant surgery when none of my American friends would dream of it. Figure 2: Beer advertisement Something happened in my native country, and living abroad I failed to both be part of it and understand it, which is why when I purchased my first video camera, I booked a ticket home and made Perfect: A Conversation with the Venezuelan Middle Class About Female Beauty and Breast Implants , a 25-minute documentary shot in English and Spanish 1 . In this essay, I will use the 13 participants’ responses to analyze the rhetorical…