“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.     

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.     

Beyond the “digital divide”: the “computer girls” of Seelampur

In the last decade, India’s position as a global information economy has aided its status as the poster child for Information and Communication Technologies for Development (ICTD) initiatives in the global South. Policy discourse emphasizes that crossing of the “digital divide” through access to technology will bring a leveling of economic and social hierarchies. Based on sustained ethnographic observations and interviews in Seelampur in New Delhi, my paper critically examines the promise of inclusion in the information society for low income “Muslim women.” In following the lives of the “computer girls” of Seelampur, I argue that access to computer training contradictorily reproduced and reified interconnected divisions of gender, class, caste, and religion. Ethnographic research reveals the complexities of everyday lived experiences among Seelampur women. The space of the ICT center was rigidly stratified and the center primarily attracted women from relatively higher class and caste positions within Seelampur. However, I argue that the women had contradictory experiences related to their status as India’s “middle-class” that restricted their economic and social mobility outside the ICT center. Their experiences testified to structural disempowerment that disrupted deterministic assumptions about ICT and mobility.     

Cultures of Commuting: The Mobile Negotiation of Space and Subjectivity on Delhi’s Metro

Abstract

As part of Delhi’s redevelopment, aimed at creating a ‘global city’, new public transport infrastructure is being built. The Metro, in particular, has become iconic of what city authorities and developers refer to as Delhi’s ‘cosmopolitan’ and ‘world city’ status. Authorities have attempted to change commuting practices embedded in the culture of Delhi, a crowded, economically and culturally diverse city, in line with desired new behaviours including an emphasis on cleanliness, order and quiet. To explore these developments this paper presents findings from a qualitative study (conducted in 2009) analysing the urban mobility of a diverse group of young people. Their experiences of the Metro revealed interacting fields of power in the city, between passengers, and between passengers and those in control of the network. These relationships were situated within wider processes of urban reconstruction that intersect with global flows of capital, technology and ideologies of ‘modernity’ and development. The findings also highlighted the contestation of cosmopolitanism: its use to describe a desired urban imagination and its deployment as everyday competencies of negotiation and flexibility designed to manage change, unfamiliarity and inequality.     

Speculating with human rights: two South Asian women writers and utopian mobilities

ABSTRACT

Utopian and dystopian fiction are classifiable under the umbrella term speculative fiction, which speculates with or takes risks with the reality it creates in the fiction. My paper investigates speculative writing which is also utopian by South Asian feminist and activist women, comparing creative texts by Rokeya Sakhawat Hossain, from the first half of the 20^th century, and Vandana Singh, from contemporary times. A selection of their published short fiction are focused on, in particular Hossain’s ‘Sultana’s Dream’ (1905) and Padmarag and the short story ‘Delhi’ by Singh. The article pulls together analysis of different kinds of mobility to argue that both writers, in their imagination of mobile utopia, also further creative speculations round human rights, with special reference to gender and the city. The article analyses how South Asian metropolises, notably Calcutta and Delhi, get reimagined in their writing. Both Hossain and Singh were/are educators in real life. How do their educative and speculative voices come together (or not) in their mobile utopia reimagining human rights? My answer is that the speculative reality-bending mode offers an articulation of the educative in a very different key to the conventionally pedagogic.     

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.”     

Remaking Charlie's Angels

From their initial appearance on US broadcast network television in the mid-1970s to their feature film incarnations in 2000 and 2003, the characters known as Charlie's Angels have been at the center of American popular culture's negotiations over feminism, femininity, and the relationship between the two. This article analyzes the “remaking” of Charlie's Angels over the past 30 years as a means of considering the “remaking” of discourses of feminism and femininity in a changing historical context. In addition to considering the original television series, this analysis also examines attempts to “clone” the series in late 1970s TV, parodies of and homages to the series in 1990s television and film, and the twenty-first-century feature films. I argue that analyzing the various re-imaginings and remakes of Charlie's Angels can be a means of revealing how post-feminism, as a series of cultural responses to feminism, has wound its way through American popular culture over the past 30 years, achieving an increasingly naturalized, and thereby more hegemonically entrenched, position over time.     

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.     

“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.     

“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.     

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.”     

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.     

Gender and Racial Stereotyping in Rape Coverage

This article uses critical discourse analysis to discuss and analyse articles about rape that appeared in a South African newspaper, Grocott's Mail, between 14 October, 2008 and 29 October, 2009. Drawing on existing literature on “rape myths” in media coverage of rape, this article argues that Grocott's Mail perpetuates racial and gender stereotypes through the way in which it reports on rape. While not all of the articles included in the analysis use rape myths, most use one or more when discussing rape incidents. Specifically, Grocott's Mail tends to use rape myths that blame the victim for the rape and de-emphasise the role of the perpetrator in the rape.     

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.     

Making Space for the Maid

Chinese television dramas over the past decades have seen the rise and decline of various narratives, but no other narratives speak to the emerging urban middle class's fear and anxiety more palpably than the stories of the maid. However, despite the growing popularity of the maid stories among urban viewers, most of these stories do not resonate with domestic workers themselves. How do we make sense of the growing popularity of the maid stories among urban viewers? And how do we account for the differentiated capacity to resonate and identify with the characters among viewers? These are important questions to consider if one is to understand the new cultural politics of power and social formations in post-Mao China. In this paper, I explore some of the crucial ways in which a controlling gaze is facilitated and naturalised by the visualisation of place and space in these dramas. Then, through both critical analyses and engaged ethnography, I demonstrate how two sets of controlling gaze—everyday and televisual—reinforce and justify each other. Finally, I advance the concept of “peripheral vision,” which, I show, denies the modernist “master” narrative of the city and, instead, empowers the subaltern figure with an epistemological position of “eye-witness” and anthropologist of the city.     

Spare Rib,Second-Wave Feminism and the Politics of Consumption

This article examines the significance of representations of both consumer culture and consumption practices in the British feminist magazine Spare Rib during its initial years of publication from 1972 to 1974. The analysis identifies how the magazine combined an established feminist critique of consumer culture with guidance on responsible consumption practices. The dispositions towards consumption that are recommended to readers are shaped by four key values: these are health, the natural, economy and craft production. These values underpin a politics of consumption during a period in which Spare Rib attempted to negotiate a feminist identity. However, once this feminist identity was established, content centred around consumption rapidly diminished as it was apparently not “feminist” enough. The article questions how a “conventional” position was established against both consumer culture and consumption practices within second-wave feminism and raises questions about the impact of this position on feminism's relationship to both consumer culture and consumption practices today.     

I Love You,Man

This article begins with a simple observation: there are very few contemporary Hollywood films in which women are shown becoming friends. This is in contrast to the “bromance,” in which new connections between men are privileged, yet this pattern has gone largely unremarked in the literature. This article has two aims: to sketch this pattern and explore reasons for it through comparing the “girlfriend flick” and “bromance.” To do this, we first discuss those rare occasions when women do become friends on screen, using Jackie Stacey's work to understand the difficulties this narrative trajectory poses for Hollywood. This raises questions about the relationship between the homosocial and homosexual which set up our comparison of female and male friendship films and provides the rationale for our focus on the beginnings of friendships as moments where tensions around gendered fascinations are most obvious. The films discussed are Baby Mama, Step Brothers, I Love You, Man, Funny People, Due Date, and Crazy, Stupid, Love. The differences we identify hinge on issues of gendered representability and identification which have long been at the heart of feminist film scholarship.     

Sex/love skirmishes: “swinging,” “polyamory,” and the politics of naming

The contested definitions of “swinging” and “polyamory” reveal profound inconsistencies in the logics of sex, love, commitment, and coupledom. In this article, I use a number of non-monogamy blogs and online glossaries as examples of the way these two words are often deployed against each other in an effort to position the speaker in relation to mononormative practices of sex and love. Leaving aside questions of the accuracy of particular definitions, I map a range of definitions against two existing scholarly/activist tools for describing relationship styles, specifically Gayle Rubin’s “Charmed Circle” and Meg-John Barker’s sex/love continuums. This exercise is doubly fruitful: first, the tools reveal the political stakes of the definitional debates; second, the definitions demonstrate that the distinctions we commonly use to distinguish between types of relationships—including types of non-monogamous relationships—in fact rely on mononormative assumptions about sex, love, and friendship. If “mononormativity” is defined as the system of ideas, institutions, and practical orientations that provide the backdrop against which the idea of monogamy as coherent, common, natural, and right congeals, the sex/love skirmishes of “swinging” and “polyamory” remind us that its logics are both pervasive and deeply fractured.     

“He’s a total TubeCrush”: post-feminist sensibility as intimate publics

Abstract

In this paper, we analyze the website TubeCrush, where people post and share unsolicited photographs of “guy candy” seen on the London Underground. We use TubeCrush as a case study to develop Berlant’s intimate publics as a lens for examining post-feminist sensibility and masculinity in the liminal space between home/work. The paper responds to notions of reverse sexism and post-sexism used to make sense of women’s apparent objectification of men in the digital space, by asking instead where the value of such images lies. We suggest that in TubeCrush, value is directed onto the bodies of particular men, creating a visual economy of post-feminist masculinity of whiteness, physical strength, and economic wealth. This celebration of masculine capital is achieved through humor and the knowing wink, but the outcome is a reaffirmation of urban hegemonic masculinity.