The “Feminization” of British Television and the Re-Traditionalization of Gender

This article explores shifts that have taken place in British television and British forms of feminine-gendered fiction from the late 1990s. These shifts will be discussed with reference to discourses of the “feminization of television” circulating in British culture during this period. This article contests the suggestion that discourses of the “feminization of television” and texts such as the female ensemble drama produced in this postfeminist period represent unproblematic “narratives of progress” for women (Georgina Harris 2006, Beyond Representation: Television Drama and the Politics of Identity, Manchester University Press, Manchester, p. 1). Rather, this article will suggest that accounts of the “feminization of television” found in the popular press along with contemporary examples of the female ensemble drama re-traditionalize women in relation to the spaces and discourses associated with twentieth-century femininity.     

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.     

“I'm Nobody”

Television and film writer Joss Whedon has produced a number of popular culture works which explore representations of what female bodies are seen to be capable of and how these representations affect what female bodies can do. Texts such as Buffy the Vampire Slayer (1997–2003), Serenity (2005), and Dollhouse (2009–2010) are as much celebrated for subverting gender and genre conventions as they are criticized for reinforcing sexualized images of women and violence. Instead of approaching Whedon's texts in terms of their representations of gender, and how feminist or otherwise these representations are, this paper explores the ways in which Whedon's texts suggest that subjectivity is textually and discursively constructed. In particular, I will stage a reading of his latest television program, Dollhouse, as a representation of the somatechnical construction of bodies and identity. Somatechnics refers to the inextricable connection between the soma, the material corporeality of bodies, and the techne or techniques and technologies through which bodily being is produced and lived. By making visible the somatechnics of bodily being and the ways gender and embodiment are experienced through and produced by cultural and discursive technologies, Dollhouse emphasizes the role of power in the construction of embodied identity rather than something which always or inevitably oppresses and constrains bodies gendered as female.     

Invisible golden girls? Post-feminist discourses and female ageing bodies in contemporary television fiction

Abstract

The popular television series The Golden Girls (1985–1992) seems to be an exception in the history of the representation of third-age women femininities and bodies in television fiction. This series about four mature women living in the same house in Miami made ageing women visible in television representations. Older women are generally invisible in popular television fiction. Despite this absence, a discourse on ageing and femininities is present in all sorts of popular media texts. We will question post-feminist discourses on ageing bodies and femininities. Are the post-feminist claims regarding ageing bodies present in popular television fiction? Moreover, are these discourses represented by the portrayal of ageing bodies? We will analyse the representations of ageing femininities in television fiction labelled as “post-feminist television fiction.” The series Sex and the City, Desperate Housewives, and Girls will be studied using a textual analysis to look for discourses on ageing female bodies and their particularities in relation to post-feminism. We distinguished a limited set of three sets of discourses (losing femininity, masking of ageing, and the wisdom of ageing) on ageing femininities. Although ageing feminine bodies are absent, a discourse on ageing, “good” ageing, and acceptance of ageing is present in the narration in all three series. The discourse on the masking of ageing, however, is predominant.     

The Postfeminist User

This paper is part of a preliminary investigation toward a postfeminist analysis of “the user.” It critically examines the pervasive liberatory rhetoric of interactivity through situating it within a widespread cultural context also rife with liberatory rhetoric: postfeminism. Two media properties, heavily marketed for interactivity, are examined: the first three films of the Final Destination film series and the reality television program Big Brother (US). I situate each as postfeminist texts, and then analyze their interactivity through this lens, demonstrating the utility of applying postfeminism to technology study. Following the feminist method of analyzing popular texts as modes of understanding feminine ideals, thereby articulating contours of a feminine subject position, I argue that analyses of postfeminist culture are productive broadly applied to cultural products, such as interactive media, augmenting feminist media theory. To understand ideals of technological usership, one must understand the culture in which they are embedded. Therefore, articulating the contours of the user as a subject position benefits from understanding postfeminist cultural sensibilities. Through this analysis, I describe the user, contrary to much new media theorizing, as exhibiting an illusory rhetoric of agency, hyperembodiment suffused with temporality and mobility, and an interactivity better understood as ongoing assessment and adjustment.     

Girls’ “New Femininity” Refusals and “Good Girl” Recuperations in Soap Talk

The “new femininities” produced in postfeminist media confront girls with complex and challenging subjectivities that reach into the spaces where girls engage in their own productions of self. Feminist scholarship has interrogated and critiqued the “girl” produced in postfeminist popular culture texts, highlighting her internal contradictions and often problematic re/production within the heterosexual matrix. Yet, despite an intensified focus on girls featured in popular culture, the ways that girls themselves make sense of the “girl” in contemporary femininity texts has been relatively neglected. Viewing girls' sense-making of femininity in popular culture texts as crucial in the process of their subjectivity or self-production, in this paper we examine pre-teen girls' negotiations of femininity through their talk about Scarlett, a main teen girl character in a New Zealand soap drama. Our analyses and discussion focus on girls' management of the contradictory and regulatory productions of femininity in the text, in particular the often classed conditions under which girls recuperate the “good girl” discourse to refuse the regulatory femininities inside the heterosexual matrix. We suggest that an absence of empowering discourses outside of postfeminism's sexual empowerment limits girls' resources for critiquing and challenging regulatory femininities, “new” and “traditional.”     

Critical feminist hope: the encounter of neoliberalism and popular feminism in WWE 24: Women’s Evolution

Scholarship has pointed to contemporary feminism’s popularity and cultural “luminosity.” While this research has highlighted the limitations of feminist politics in a context of neoliberal individualism, this paper seeks to ask what possibilities for critiques and transformation of gender inequalities might be enabled by feminism’s visibility in neoliberalism. Using a framework of critical feminist hope, we highlight that capitalism’s embrace of feminism inarguably limits its political scope, but it may also open up opportunities for new forms of representation. To illustrate this, the paper analyses WWE 24: Women’s Evolution, a “brandcasting” documentary made to mark the rebrand of the sport entertainment promotion’s women’s division in 2016. While never naming it directly, the documentary draws heavily upon the signifiers of popular feminism. Although this mobilisation is often highly limited, a critically hopeful feminist reading allows us to move beyond dismissing this text as an example of feminism’s “co-optation” by neoliberalism. We highlight the documentary’s scathing critique of past failings in the representation and treatment of women performers, and, more importantly, the way feminism is used to make the case for corporate re-structure and change.     

Feminine Purity and Masculine Revenge-Seeking In Taken (2008)

The 2008 film Taken depicts the murderous rampage of an ex-CIA agent seeking to recover his teenage daughter from foreign sex traffickers. I argue that Taken articulates a demand for a white male protector to serve as both guardian and avenger of white women's “purity” against the purportedly violent and sexual impulses of third world men. A neocolonial narrative retold through film, Taken infers that the protection of white feminine purity legitimates both male conquest abroad and overbearing protection of young women at home. I contend that popular films such as Taken are a part of the broader cultural system of representing social reality that elicit popular adherence to common-sense myths of white masculinity, feminine purity, and Orientalism.     

“Out of place” bodies and gender: urban exclusion and emplacement as documentary method in My Own City

In this paper, I investigate Indian filmmaking that emerges from the encounter between urban experience and documentary practice to examine how Indian feminist critique responds to neoliberal discourses of urbanism and gender. I consider the analysis of urbanism in Sameera Jain’s documentary My Own City (2011) which depicts how women become “out of place” in neoliberal cities by focusing on the gendering of urban temporality, mobility and belonging, in relation to which women’s subjectivities and performances are mediated in the nation’s capital New Delhi. In the second section, I conceptualize the use of a deliberate strategy of place-specific performance in the film as “emplacement” which enables a visible field of gender performances and observable mutations of both, subject and space. In contrast to documentary staging or re-enactment, conceptualized as emplacement, the audiovisual recording of complex relations of “becoming” allows place-specific ecologies of material, sensory and social environments to be considered together in the construction of gender. Following the film, the paper outlines provocations regarding critical ways of conceptualizing place in how cultural forms like documentary represent gender in relation to geographies and environments.     

Unblurring the lines: a qualitative exploration of young women’s opinions on popular music

Music is an important part of the human experience, arguably contributing to identity and the formation of relationships and group memberships. However, the way women are portrayed in music has been identified as harmful and disempowering. Past research relating music to these trends has often failed to “give voice” to participants by asking them what think about the music they listen to, which is in itself disempowering. Therefore, the aim of this study was to gain an understanding of young women’s perspectives of popular music. Face-to-face, in-depth, semi-structured interviews were conducted with 10 young women. Causal layered analysis was used to deconstruct participants’ understandings of popular music. Findings revealed that for participants, music can both reflect and contribute to conflicting worldviews regarding women’s freedom of expression and sexual conservatism. Music also acted as a conduit for discussion of the social construction of women; participants articulated that female artists are seen rather than heard, reduced to body parts and commodified. Findings indicate that participants are cognizant of gendered power differences in music, rendering popular music in particular a mechanism for the oppression of women, but also a useful means to monitor and challenge problematic cultural attitudes directed at women.     

Gender Monstrosity

Deadgirl (2008) is based around a group of male teens discovering and claiming ownership of a bound female zombie, using her as a sex slave. This narrative premise raises numerous tensions that are particularly amplified by using a zombie as the film's central victim. The Deadgirl is sexually passive yet monstrous, reifying the horrors associated with the female body in patriarchal discourses. She is objectified on the basis of her gender, and this has led many reviewers to dismiss the film as misogynistic torture porn. However, the conditions under which masculinity is formed here—where adolescent males become “men” by enacting sexual violence—are as problematic as the specter of the female zombie. Deadgirl is clearly horrific and provocative: in this article I seek to probe implications arising from the film's gender conflicts.     

Cougars or kittens? The representation of celebrity cougars and their toyboys in gossip media

Abstract

Relationships involving a woman who is much older than her male partner have become increasingly visible in popular culture. These women are referred to as “cougars” and their partners as “toyboys.” This type of relationship has the potential to undermine elements of heteronormativity and intersectional gender/age performances, as women who are past their forties are not expected to engage in sexual relationships with (younger) men. The present study discusses the discourse found in Dutch gossip media (n = 138) on the relationships of preselected celebrity “cougars:” Demi Moore, Madonna, Patricia Paay, and Heleen van Royen. A qualitative content analysis reveals that certain aspects of heteronormativity are challenged: these women are depicted as financially and sexually empowered, whereas their partners are seen as interchangeable male suitors who are dependent on the female partner’s (financial/career) achievements. Yet, traditional understandings of intersectional performances (i.e., gender/age) are also found: a wise, caring mother, and a handsome, boyish, adventurous partner. Overall, these women are seen as both maintaining and challenging traditional roles that are typically associated with older women.     

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.     

Women who experience feelings of aversion while breastfeeding: A meta-ethnographic review

ProblemLimited literature is available about women who wish to breastfeed but experience unexpected feelings of aversion in reaction to their infant suckling at the breast while breastfeeding.BackgroundBreastfeeding benefits mothers, infants and society yet breastfeeding rates continue to fall below recommendations in part due to inadequate tailored support after hospital discharge. Influences on breastfeeding are complex and include many physiological, psychosocial and cultural factors.AimTo better understand the experience of women who have feelings of aversion during breastfeeding by synthesising the existing literature.MethodsMEDLINE, CINAHL, PsycINFO, Maternity and Infant Care databases were searched for relevant literature published between 2000 to 2019. Using Covidence software, five qualitative research studies were identified. Studies were then analysed using meta-ethnographic qualitative synthesis.FindingsFeelings of aversion during breastfeeding were described as visceral and overwhelming; leading to feelings of shame and inadequacy. This synthesis identified five findings; a central conceptual category of “it’s such a strong feeling of get away from me” with four key metaphors translated from this central conceptual category: “I do it because I feel it is best for my baby”, “I can’t control those feelings”, “I should be able to breastfeed my son and enjoy it”, and “I’m glad I did it”. This phenomenon may negatively affect a women’s sense of self and impact on the mother-infant relationship.ConclusionSome women who want to breastfeed can experience feelings of aversion while breastfeeding. The feelings of ‘aversion’ while breastfeeding can inhibit women from achieving their personal breastfeeding goals.     

“There is a Massacre of Women”: Violence Against Women,Feminist Activism,and Hashtags in Turkey

Abstract

In academic and popular debates about sexualisation, the “mainstreaming of sex in the West” is a common catchphrase. As noted by post-colonial and critical race scholars, categories such as “the West” remain powerful discursive ideas shaping how both researchers and researched border and construct race, difference, and sexuality. However, there is very little research that employs a post-colonial analysis of young people’s negotiations of sexualised media, most particularly studies that elucidate how the oppositional frameworks of colonial discourse sets up normative and “othered” subjectivities. In order to address this gap, I turn to Stuart Hall’s classic paper The West and the Rest to reflect on a project undertaken in South Australia with young people from a broad range of cultural backgrounds. In a fascinating set of reflections, the young people present a powerful set of challenges to the binary of the West and the Rest through their narratives on sexualised media. Taken together, these complex and sometimes contradictory narratives remind us of the problems associated with talking in generalised and universalising ways about “sexualisation in the West.”     

Something Else Besides a Father

While heterosexuality has long been the assumed ideology of reproduction, the material existence of over thirty-three thousand US children a year born from sperm donation alone attests to a radical disjuncture between our conceptions of conception and how a good many children are actually conceived. Reproductive technologies, ranging from the aforementioned sperm donation to the more complicated processes of egg harvesting, surrogacy, and IVF, can thus be read as subverting our notions of the heteronormative family. As such, assisted reproductive technology evokes widespread cultural anxiety, especially for how it challenges notions of gender, sexuality, and parenthood.

Not surprisingly, popular culture has stepped in to allay some of these anxieties, and as such it is a productive site through which to examine debates around gender, sexuality, and parenthood. At the very least, the wide market of Hollywood cinema is evidence of the discursive pull of these debates. In an examination of three recent and representative Hollywood films, Baby Mama (2008), The Switch, and The Back-Up Plan (both 2010), I will analyze how they both challenge and reinforce the “socially foundational status of the male–female couple.” Through their (re)deployment of a variety of cinematic conventions, these films attempt to yoke the radical potential of reproductive technology to a conservative ideology incorporating post-feminism and new masculinity that insists on the emotive primacy of the heterosexual couple and its “language of naturalness.”     

Women,ageing, and Hip Hop: discourses and imageries of ageing femininity

Abstract

This article investigates how discourses of ageing femininity are constructed and negotiated amongst females in Hip Hop. Through the analysis of narratives and imageries constructed within the music and videos of rap veteran Missy “Misdemeanour” Elliott, press responses to Missy’s work and comparative accounts of other prominent female rappers’ performative strategies, this article explores some of the ways that female artists are responding to socially gendered notions of ageing in Hip Hop. I argue that Hip Hop females are in some cases using Hip Hop as a vehicle for subverting age narratives that are commonly associated with ageing femininity. Murray Forman’s concept of “age-representing” is brought into dialogue with representations of ageing Hip Hop females to support this analysis. The writings of Ros Jennings and Abigail Gardner are also drawn on to form a supportive framework by offering comparative accounts of female ageing in other popular music sub-fields. This article aims to contribute to the growing feminist critique of ageing and popular music culture.     

Male dominance and sexism on YouTube: results of three content analyses

This study conceptually and empirically extends a study by Wotanis and McMillan in which the authors claimed that female video producers are underrepresented on YouTube and receive much more negative (including hostile and sexist) feedback than male YouTubers. Using quantitative content analysis, this study supported the claim of female underrepresentation. Among the top 100 most subscribed YouTube channels in nine different countries (N = 900 channels), with a statistically significant proportion of only 25%, female video producers were strongly underrepresented. Additionally, a second content analysis of N = 2,400 video comments directly replicated the original study’s main quantitative results. This analysis confirmed that the popular female US comedy YouTuber Jenna Mourey (“JennaMarbles”) received much more negative (including hostile and sexist) feedback than her male counterpart Ryan Higa (“nigahiga”). However, a third content analysis of N = 6,000 video comments from five other pairs of comparable comedy YouTubers did not reveal that women’s videos generally attract a larger number of negative video comments. Possibly, women attract more negative comments only if they display their sexuality (like Jenna Mourey) or address feminist topics, but not if they conform to gender role expectations. Future research directions and practical implications are discussed.     

Unfolding female quiet in wargames: gender bias in Metal Gear Solid V: The Phantom Pain from representation to gameplay

This article investigates the cultural mediatization of the relationship between gender and war by looking at the representation and agency of female presence in one of the most popular sagas in video games: Metal Gear Solid. We have specifically focused on the last chapter of the series, Metal Gear Solid V (MGS5) by putting under scrutiny the character of Quiet. The analysis draws upon the rich theoretical corpus of feminist film studies, with reference to two main concepts: the “visual pleasure” by Laura Mulvey and the “female voice” by Kaja Silverman. These analytic tools are employed in order to scrutinize both the visual representation and the design of the game. We argue that MGS5 is a relevant instance of a large part of gaming production that develops a war imagery characterized by (a) the exploitation of women and (b) an employment of female body as a tool to fulfill the visual pleasure of the male gaze. The figure of Quiet, with the oversexualization of her body and the deprivation of her voice, is particularly telling in this respect. Our analysis aims to identify effective solutions in order to think about more inclusive digital games able to address conflictual issues without surrendering to sexism.     

“Emasculation nation has arrived”: sexism rearticulated in online responses to Lose the Lads’ Mags campaign

In the spring of 2013 a British feminist campaign sought to have men’s magazines, such as Zoo, Nuts, and Loaded, removed from the shelves of major retailers, arguing that they are sexist and objectify women. The campaign—known as Lose the Lads’ Mags (LTLM)—received extensive media coverage and was the topic of considerable public debate. Working with a data corpus comprising 5,140 reader comments posted on news websites in response to reporting of LTLM, this paper explores the repeated focus on men and masculinity as “attacked,” “under threat,” “victimised,” or “demonised” in what is depicted as a sinister new gender order. Drawing on a poststructuralist feminist discursive analysis, we show how these broad claims are underpinned by four interpretative repertoires that centre around: (i) gendered double standards; (ii) male (hetero)sexuality under threat; (iii) the war on the “normal bloke”; and (iv) the notion of feminism as unconcerned with equality but rather “out to get men.” This paper contributes to an understanding of (online) popular misogyny and changing modes of sexism.