Pleasurable critiques: feminist viewership and criticism in Feminist Frequency,Jezebel, and Rosie Recaps

In an introduction to her webseries Tropes vs Women in Video Games, critic Anita Sarkeesian makes a disclaimer: “This series will include critical analysis of many beloved games and characters,” she says “but remember that it’s both possible, and even necessary, to simultaneously enjoy media while also being critical of its more problematic or pernicious aspects.” Sarkeesian’s statement pre-empts a common complaint made of feminist criticism: namely, that it inhibits the consumer’s pleasure in her or his favourite texts. In this paper, I argue that feminist criticism is in fact intrinsic to many viewers’ enjoyment in popular culture. Surveying texts such as Feminist Frequency, Jezebel, and the television recap series Rosie Recaps, I develop the concept of pleasurable criticism as a way of describing the increasingly visible modes of feminist enjoyment discernible in the broader culture. By identifying pleasurable criticism as a viewing practice, this paper demonstrates how feminist criticism can be constitutive of rather than extrinsic to pleasure.     

Love,Lust, and Loss in the Early Age of AIDS: The Discourse in the Body Politic From 1981 to 1987

ABSTRACT

This article explores the idea that the AIDS epidemic constituted a defining moment for the Canadian gay rights movement and illuminates the intricate power dynamics of the development of a community identity. Using grounded theory inductive and deductive content analysis, and interviews with activists from the Body Politic magazine, this article considers notions of health “from above” and “from below” by examining relations between the community and government and their confrontation with medicalization and the medical profession. I also examine how the magazine reported and negotiated issues related to the community’s self-policing and “self-managed oppression” through efforts to promote safer sex and risk reduction.     

“Come on, […] let’s go find your inner princess”: (post-)feminist generationalism in tween fairy tales

This article draws attention to the expansion of tween popular culture at the beginning of the twenty-first century, and in particular tween fairy tale films. It has two aims: first, to demonstrate how tween popular culture mediates feminism’s history; and second, to highlight the continued relevance of the terms “post-feminism” and “neoliberalism” at a time when confidence in their use is waning in feminist media studies. Importantly, it looks carefully at the relationship between these two discourses, and reveals that the figure of the tween princess emerges at the intersections of the two. By interrogating the dialogue between the onscreen maternal generations of feminism, represented in the female characters of teen princess, mother, step-mother, and grandmother/fairy godmother, this article reveals that the fairy tale narrative and the figure of the princess are employed to straightforwardly present feminism’s complicated history, and to put forward a post-feminist identity as the only “authentic” choice in this reflexive construction of a feminine self. The princesses are presented as neoliberal icons of post-feminist culture, representing the self as project.     

Female Friendship,Idealisation and the “Need” For Violence In Crush

This article develops a feminist critical approach capable of responding to the uniquely pessimistic portrayal of female friendship in Crush (Alison Maclean 1992, NZ). Crush questions the possibility of supportive or empathetic relationships, disclosing instead a powerful feminist “need” for violence, between women. This poses a challenge for feminist theory which has yet to be fully understood (it is the first aim of this article to remedy this). Secondly, the article uncovers the same pessimism at the centre of Melanie Klein's psychoanalytic theories of idealisation, demonstrating the “negativity” of Klein's work and its value for feminist approaches to cinema spectatorship.     

For Western Girls Only?

Much of the literature on post-feminism concerns the “Western” world and variously conceptualizes post-feminism as “Western culture.” This article argues that, as a result, feminist cultural scholars have not sufficiently imagined, theorized, or empirically researched the possibility of post-feminism in non-Western cultural contexts. By briefly reviewing what has been said in the literature about post-feminism and the non-West, and by putting this in dialogue with transnational feminist cultural scholarship, this article makes a case for a transnational analytic and methodological approach to the critical study of post-feminism. It argues that such an approach provides an understanding of post-feminism as a transnationally circulating culture, and thus can better account for the fact that the culture interpellates not only women in the West but also others elsewhere. The article concludes by outlining what it means and could afford feminist cultural scholars to work with a new conceptual view of post-feminism as transnational culture.     

Discriminating taste: maintaining gendered social hierarchy in a cross-demographic fandom

To explore the role of hierarchical taste culture discourses in cross-gender media fandoms, this article considers “Bronies,” the adult, largely male fandom of girls’ animated series My Little Pony: Friendship Is Magic. This fandom’s presence has often been identified as a significant gender taste norm violation with positive feminist implications. The authors’ open-ended qualitative survey of 2915 Bronies reveals this fandom extensively uses discourses of “quality” and hierarchical value to legitimate their interest in the series, and that in articulating its value, the fan culture reinscribes taste and gender hierarchies. Our findings show that by deploying masculinized taste norms, Bronies maintain traditional taste hierarchies within their gender-atypical fandom and marginalize the very audience and viewing culture from which My Little Pony: Friendship Is Magic originated. Rather than indicating an open-minded, stereotype-defying attitude toward girls’ media culture more broadly, fans often articulate the series’ value by denigrating other girls’ media texts. While unexpected fandoms may support cross-demographic viewing, we argue that these fandoms can nonetheless maintain gendered taste hierarchies that have marginalized women and are not as feminist as they appear at first glance.     

Television And The Domestication Of Cosmetic Surgery

An exploration of the discursive production of cosmetic surgery on the television shows Extreme Makeover and Nip/Tuck illustrates that these programmes contribute to and reflect the processes through which cosmetic surgery has become domesticated within increasingly globalised contexts. I demonstrate that across a range of cultural sites, including some feminist scholarship, the press, and surgical television, post-feminist frames have displaced feminist frames for comprehending cosmetic surgery, enabling the culture's surgical turn. Feminist attention to risk, oppressive standards for appearance, and the cultural and discursive location of suffering around the deviant body is displaced by the post-feminist celebration of physical transformation as the route to happiness and personal empowerment. It is this logic that is played out through Extreme Makeover's rendering of surgery as the solution for personal suffering and a meting out of justice to the “moral” individual. Extreme Makeover explicitly domesticates cosmetic surgery by publicising its benefits and undoing the former imperative to hide surgery rather than be viewed as “inauthentic.” As a corollary, the show promotes a system of visual eugenics where “unaesthetic” raced and gendered facial and bodily features are erased. Nip/Tuck gestures toward feminist responses to surgical culture through making its violent interventions into the body explicit, by including a feminist character, and through incorporating plot lines which critique the narcissism and gendered cruelty of surgical appearance work. However, these gestures serve as dramatic devices, the political potential of which is curtailed by the requirements of the melodrama to favour sensational story arcs and to retain a degree of sympathy for the surgeon leads. Thus, both shows contribute to a post-feminist mediascape which renders the inevitability of the culture's surgical turn, providing limited frames for viewers negotiating their own responses to the meanings of cosmetic surgery.     

Taking time between g-string changes to educate ourselves: Sinéad O’Connor,Miley Cyrus,and celebrity feminism

This article examines the feminist response to a 2013 online “feud” between singers Miley Cyrus and Sinéad O’Connor that began when Cyrus connected the video for her single “Wrecking Ball” to O’Connor’s video for “Nothing Compares 2 U.” O’Connor’s response criticised Cyrus’ sexualised image, and the exchanges that followed sparked debate among feminists over the limits of sexual “agency,” and the sexual politics of feminism. This took place within a wider media context that has seen an apparent increase in female celebrities explicitly identifying themselves as feminist. Critics of this “celebrity feminism” argue that the sexualised star systems of its proponents are at odds with the aims of feminist politics. This article draws on post-structuralist feminist theory to question the positioning of celebrity feminism as exterior to an imagined “feminist movement.” Using the Cyrus/O’Connor feud, I argue that such a binary potentially reaffirms the structures of power that feminism seeks to oppose, and ignores the ways celebrity culture and contemporary media practice might combine to produce new understandings of the field of feminism.     

Posing as art: the ambiguities of feminist body art and the misclassification of Natacha Merritt’s pornographic photographs

At the launch of the twenty-first century, the online pornographic photographs of Natacha Merritt, a young American woman (23 years old at the time), were categorised as art in two publications by art publisher Taschen, precipitating a critical acceptance of her work as such. This particular foray of pornography into an art context was briefly contested by one art critic; however, this relatively rare example of misclassification warrants further investigation in order to better understand the role played by what had, by the late twentieth century, become a pervasive post-feminist culture. Drawing on feminist media studies writing that analyses post-feminist modes of “self exploration,” and feminist art criticism on the ambiguities of feminist body art, this paper argues that Merritt’s “adult-oriented” online digital photographs are more persuasively situated within the increasingly prevalent online genres of the intimate blog and amateur porn. Acknowledging the risk of “collusion” inherent in feminist artworks that focus on the objectified female body, this paper concludes that a compelling critique of a post-feminist (pornified) culture resides in the reactivation of a politics of female sexual pleasure.     

Rape culture and social media: young critics and a feminist counterpublic

Social media sites, according to Carrie A. Rentschler, can become both “aggregators of online misogyny” as well as key spaces for feminist education and activism. They are spaces where “rape culture,” in particular, is both performed and resisted, and where a feminist counterpublic can be formed (Michael Salter 2013 Salter, Michael. 2013. “Justice and Revenge in Online Counter-Publics: Emerging Responses to Sexual Violence in the Age of Social Media.” Crime, Media, Culture: An International Journal 9 (3): 225–242.[Crossref], [Web of Science ®] , [Google Scholar]). In this New Zealand study, we interviewed seventeen young people who were critical of rape culture about their exposure and responses to it on social media and beyond. Participants described a “matrix of sexism” in which elements of rape culture formed a taken-for-granted backdrop to their everyday lives. They readily discussed examples they had witnessed, including victim-blaming, “slut-shaming,” rape jokes, the celebration of male sexual conquest, and demeaning sexualized representations of women. While participants described this material as distressing, they also described how online spaces offered inspiration, education, and solidarity that legitimated their discomfort with rape culture. Social media provided safe spaces that served as a buffer against the negative effects of sexism, and allowed participation in a feminist counterpublic that directly contests rape culture.     

“Exciting” and “borderline offensive”: bloggers,binaries, and celebrity feminism

Feminism is “cool” like never before in popular culture and celebrity feminism is arguably the most visible manifestation of this currently chic status. Some scholars and commentators see this as evidence of a global feminist resurgence; others critique it as empty and devoid of political traction. The hypervisibility of celebrity feminism makes it an ideal site to explore sense-making of contemporary feminism. Long-standing feminist debates about sexuality, intersectionality, and commodification cohere around the figure of the celebrity feminist, and are debated amongst media commentators, feminists, and celebrities themselves. We analyse blogs and comments sections as a particular site where meanings of celebrity feminism are constructed and contested in the everyday. Our analyses underline the operation of a good/bad binary that constituted celebrity feminism as “other” to an imagined authentic, politically engaged feminism, although consensus about what constitutes an authentic feminist was elusive. However, celebrities were not always positioned as “other,” with the recognition that celebrities share with all women the contradictions and demands of inhabiting a postfeminist media culture. Our findings emphasise the need for a nuanced approach to theorising and understanding celebrity feminism’s relationship with other feminisms and its implications for feminist practices and identifications.     

Television crime series,women police,and fuddy-duddy feminism

This essay argues that Prime Suspect has become a canonical text for feminist television studies and that Helen Mirren's performance of Lynda La Plante's creation has provided an influential template for television, and the broader culture, to imagine what a senior female police officer is like. So Jane Tennison is important not only within the depicted world of the “canteen culture” of the police in Prime Suspect, but also within the broader context of television production where she has demonstrated that crime shows with female leads can be extremely successful. Juxtaposing Prime Suspect with two later “girly” British TV police series, I ask how we might approach the “daughters of Jane Tennison” found in series such as Ghost Squad (2005) and Murder in Suburbia (2004–2006). Are these “postfeminist” shows? I argue that attention to these programmes can productively inform our understanding of what is entailed for women in not being “fuddy-duddy,” and my comments thus engage, in the continuing debate about the utility and periodisation of the notion of “postfeminism.”     

Engaged with eBay

eBay promises individuals varied identity positions but renders the most traditional roles—particularly wedding engagements and marriages between a woman and a man. The company indicates that “you can get it on eBay” and the site satisfies desires, fulfills consumer needs, and connects people. Yet, eBay also controls the messy and queer aspects of collecting, and institutes a normalizing structure that compels most individuals to follow eBay's directives, attend to its moral codes, and facilitate community trust. I use close visual and textual analysis and feminist and collecting literature to interrogate how eBay deploys narratives about engagement rings, weddings, and heterosexual unions. I also consider the related ways women sellers list their personal wedding dresses. By providing representations of their weddings and marriages, these women support eBay's normalizing structure and trouble some of its functions. Studying such practices is important because wedding cultures and related rituals ordinarily articulate gender, race, and sexuality positions; conceptions of the individual, family, community, and state; connections between love and consumerism; and the standards by which people are expected to live their lives.     

The “smart” body politics of Lena Dunham’s Girls

Since its 2012 debut Girls has received an extraordinary amount of attention and criticism from both academic circles and popular culture critics. It has been critiqued for its depiction of female nudity and its portrayal of female sexual subjecthood. At the center of these debates is how author–star Lena Dunham’s body is positioned and utilized aesthetically and politically. This essay examines the brand of body politics and mode of female sexual subjecthood that the series creates and performs. In order to track how Girls produces this body politics and female sexual subjecthood I position it in relation to earlier feminist television series and indie cinema. This essay argues that Girls’ particular brand of body politics and the mode of female sexual subjecthood it depicts is characterized by emotional intimacy, irony and reflexivity. Furthermore I contend that Girls’ gender politics is enabled by the series’ utilization of a low-key aesthetic and the “smart” tendency, more commonly discussed in relation to American indie cinema.     

White Feminist Stories

The last decade has witnessed an increased visibility of grassroots feminist activism in Britain. This article concerns the representation of such activism in the left-leaning newspaper The Guardian, and focuses on issues related to race and whiteness. Drawing on anti-racist critiques of “white feminism,” the article presents a close reading of three articles which have appeared in recent years. Combining a content and narrative analysis, the article unpicks underlying assumptions about British feminism, and identifies three specific narrative techniques which are problematic in relation to race. These construct contemporary feminist activism as: (1) a continuation of a white feminist legacy; (2) a unified movement of “like-minded” individuals; and (3) “diverse” and “happy.” Presented as common sense, these narratives erase power differences between women, as well as a multitude of feminist organising in Britain, including black British feminism. While anti-racist feminists repeatedly challenge such representations, including occasionally on The Guardian's own blog, this appears to have little effect on the dominant constructions of feminism in the more prominent news and feature articles. This resistance to change highlights the continued unequal power relations between white feminists and feminists of colour, and the persistence of whiteness in defining feminism within mainstream liberal media.     

“Allow access to location?”: Digital feminist geographies

Abstract

This article looks at the impacts ongoing processes of digitization have on feminist politics of location. It argues that, rather than being borderless by nature, the digital has to be understood as producing different kinds of borders, demanding different kinds of politics of location. New potentialities arise with the challenge of creating a politics fitting to the current mode in which locations become slippery. Discussing the emergence of cyberfeminism in the early 1990s and a more recent example of digital feminism—the #SolitarityIsForWhiteWomen hashtag—this article thinks through the following questions: what does the “cyborg” as a posthuman (and postgender) category have to offer for those who have been (and are) excluded from the notion of the “human”? More specifically, how can we understand and conceptualize the “cyborg” beyond triumphalist narratives of being beyond difference?     

“All the same thing”: liberating reproductive politics for a mediated “gay community”

Analyzing the logic by which the Boston-based, national newspaper, the Gay Community News (GCN), intervened in mid-1980s battles over abortion and foster-parenting, this case study confirms and complicates recent critiques of ahistorical and silo-ed “alternative” media theory. The GCN’s radical collective strategically mixed, dismissed, crossed, re-defined, and ignored historically and geographically specific rhetorical resources to link abortion and lesbian/gay parenting as an “all the same thing” argument for its feminist “gay liberation” politics. At once premised on and adapting an opposition between logics of liberation and of “private” choice, the GCN’s equivalence rhetoric challenges distinctions between social movement media. The case also demonstrates how, considered in their own contexts, media projects may both disrupt oppressive codes and representations, whether promulgated by the state or other activists, and reinforce or legitimize domination and privilege. Although flawed and unavoidably contingent, this creative “same thing” imagining of a feminist “gay” reproductive liberation politics, and its limits, speak powerfully still, or again, to the radical, self-interrogating, and embodied social justice solidarities urgently needed today.     

“The Consummate Material Girl?”

This paper examines one facet of the media persona of high profile South African liberation struggle figure, Winnie Madikizela-Mandela: how English-language media represented her conspicuous consumption during a monumental decade in the country's history, the 1990s. In the framework of theories of post-coloniality and intersectionality, the paper analyses the discourses in a corpus of thematically coherent media texts featuring Winnie's lifestyle and consumption practices. Media narratives of Winnie's taste for “diamonds,” “champagne,” “mansions,” and “expensive clothes” are deconstructed as ideologically loaded and influenced by racialized and gendered power struggles. The extent to which Winnie is presented as having “sold out” on the liberation struggle and having “bought in” to neoliberal values is theorized in the context of the politics of wealth and poverty in a newly liberated society.     

Drink Sluts,Brats and Immigrants as Others

Drawing on an analysis of the media debate on two Swedish rape cases involving alcohol, the present article argues that social norms and power structures are made visible both when debaters ascribe explanatory power to alcohol and when they do not. Using feminist intersectional theory, we argue that when debaters employ the concepts of “foreign culture” and “jet-set drinking culture,” respectively, to explain the rapes, they simultaneously (re)produce stereotypical discourses on gender, sexuality, class and ethnicity/nationality. The troublesome positions of the Immigrant, the Drink Slut and the Brat symbolize how these discourses intersect in the specific cases. To understand why alcohol is central in explaining rape in a fashionable area, but not in a socially disadvantaged area, we suggest that the official image of Sweden as a gender-equal, sexually liberal and multicultural society with small class differences blocks discussion of existing inequalities within the country. When rape happens in a place constructed as a “Swedish middle- and upper-class area,” alcohol and intoxication are used to symbolize the “uncivilized,” unpleasant and malicious among Swedish men. When rape happens in “socially disadvantaged neighbourhoods” populated by “immigrants,” the unpleasant instead resides in the “foreign culture.”