Sluts that Choose Vs Doormat Gypsies

The UK primetime series My Big Fat Gypsy Wedding (Channel 4, 2010, 2011, 2012) offered audiences the opportunity to be armchair matrimonial ethnographers, to reveal the courtship curiosities of “one of the most secretive communities in the UK.” In spite of claims to social realist documentary, however, we argue that this programme has clearer resonances with “sexposé” reality television, producing and circulating a moral, visual economy premised upon the cultural figuration of “the gypsy bride.” The gypsy girl and gypsy bride are marked as victims of male gypsy oppression, of “backwards” and repressive cultural practices, of age-inappropriate sexualisation and “excessive” consumerism, and is thus defined by her failure to be a good aspirational postfeminist subject. In this paper, we explore the intersecting discourses around gender, sexuality, class, and race operative within Gypsy Wedding and analyse online forums responding to the programme. We use psychosocial methodologies and theories of affect to argue that the gypsy bride becomes a figure of abjection, desired and despised, and that the (readily accepted) invitation to be appalled by her “oppression” reveals the strategic potency of postfeminist notions of empowerment and the racist, sexist, and classist agendas it can serve.     

"Having it Ally ": Popular Television (Post-)Feminism

This article analyzes the impact of the built environment on the narrative development of two contemporary television series, 24 (2001–2010) and Alias (2001–2006). The analysis begins with the primary sets used in 24 and Alias, paying particular attention to the ways that these sets establish the series within the genre of espionage dramas, and to the ways that they establish a particular set of gender relationships. This is followed by an examination of broader spatial concepts, showing how the two series negotiate the gendered boundaries between the domestic sphere and the professional sphere. By highlighting the connections between architecture, space, and gender in these series, this essay will demonstrate how the analysis of on-screen spaces can reveal the ideologies of individual media texts and the genres of which they are a part.     

Olivia Pope: a black post-feminist subject? Analyzing Scandal’s intersecting post-feminist and colorblind discourses

Previous analyses of Scandal have focused on how colorblind discourse in the series influences the representation of lead character Olivia Pope’s Blackness. Less has been written about how dominant discourses of race and gender intersect in the series. Correspondingly, post-feminist scholarship has overwhelmingly concentrated on discourses of gender in depictions of white women. This article seeks to bridge the gaps between scholarship on representations of race and gender on television. Situating Scandal within the context of post-feminist and colorblind discourses of gender and race that have been prominent on mainstream television since the early 2000s, this article takes an intersectional approach to interrogate how Olivia Pope, a Black woman, is incorporated into post-feminist discourse. Rhetorical analyses of episodes of Scandal’s seasons 1 through 5 uncover how colorblind and post-feminist discourses provide at their junction a restricted space for a Black post-feminist subject. Olivia Pope’s post-feminist characterization comes at the expense of obfuscating how her Blackness affects her identity as a woman, and effectively “posts” her Black womanhood. The visibility of the Black post-feminist subject in colorblind post-feminism is thus paradoxically contingent on the concurrent invisibility of Black women’s experiences and Black feminist concerns.     

“The Lion Fell in Love with the Lamb”

Although many scholars have written about vampire fiction, few have discussed gender and gender violence in this genre. Further, none has addressed the romanticized and eroticized violence in contemporary vampire fiction. Given the popularity of the series The Vampire Diaries and Twilight with a highly impressionable teen audience, it is important to examine their portrayal of gender roles and gender violence. This paper uses research in cultivation theory to highlight the potential impact of messages conveyed in contemporary vampire fiction—focusing on the stereotypical portrayal of men and women, the romanticizing of characteristics predictive of partner abuse, and the link between sex and violence.     

“Making work pay” in a rationed labor market

This paper empirically analyzes the labor supply effects of two “making work pay” reforms in Germany. We provide evidence in favor of policies that distinguish between low effort and low productivity by targeting individuals with low wages rather than those with low earnings. We discuss our results more generally and with comparisons to the family-based tax credits in force in the US and the UK. For the evaluation of the policies, we apply a static structural labor supply framework and explicitly account for demand-side constraints by using a double-hurdle model.     

Is the Lack of Specific Lesbian,Gay, Bisexual,Transgender and Queer/Questioning (LGBTQ) Health Care Education in Medical School a Cause for Concern? Evidence From a Survey of Knowledge and Practice Among UK Medical Students

Lesbian, gay, bisexual, transgender and queer/questioning (LGBTQ) people frequently report negative health care encounters. Medical professionals may inadequately manage LGBTQ persons’ health if they have not received training in this area. An anonymous survey measuring efficacy in health situations among LGBTQ persons was answered by 166 medical students across all years of a UK university. Results show that 84.9% of participants reported a lack of LGBTQ health care education, with deficits in confidence clarifying unfamiliar sexual and gender terms, deciding the ward in which to nurse transgender patients, finding support resources, and discussing domestic abuse with LGBTQ patients. Most participants reported that they would not clarify gender pronouns or ask about gender or sexual identity in mental health or reproductive health settings. Participants reported infrequently observing doctors making similar inquiries. Participants held positive attitudes toward LGBTQ patients, with attitude scores positively correlating with LGBTQ terminology knowledge scores (r_s = 0.5052, p < .01). Addressing gender identity and sexuality issues within medical curricula may remove barriers to accessing health care and improve encounters for LGBTQ patients.     

Discursive manoeuvres and hegemonic recuperations in New Zealand documentary representations of domestic violence

This article examines the production and promotion of A&;E's Rollergirls (2006), a US docu-soap featuring the Texas Roller Derby Lonestar Rollergirls (TXRD), the league that revived roller derby as a sport for female amateurs. Focusing on the representation of TXRD skaters in Rollergirls, as well as A&;E's promotional campaign for the series, this analysis is contextualized in relation to the role of female athleticism in contemporary US commercial culture. Relying on practices long used to trivialize women sports figures, Rollergirls' portrayals of TXRD skaters suggest ambivalence towards female athleticism as well as a desire to contain the gender-bent and sexually agential performances at the heart of women's roller derby. In addition to revealing the challenges television producers face in the representation of female athletes and other nonconformist women, the research offered here hopes to expand feminist television criticism beyond its conventional focus on fictional texts while also broadening feminist studies of sports media, which have centered primarily on news coverage.     

Endless Interrogation

This paper takes a revisionist look at the first episode of Prime Suspect (1991–2006)—hereafter known as Prime Suspect (1)— in what was to become a cycle of dramas, conceptualised, and in the first instance, written by Lynda La Plante, based upon the female Detective Chief Inspector character, Jane Tennison. Critical attention has hitherto tended to shift away from Brunsdon's (2000) ground-breaking work on Prime Suspect (1)'s “equal opportunities discourse” toward critiques which emphasise its noir, hardboiled and literary, traditions. The paper thus seeks to rehabilitate Prime Suspect (1)'s televisual—rather than derived—lineage, in an adapted form of dramatised documentary practice. By using insights drawn from Kristevan psychoanalytic analysis I undertake an analysis of the programme in order to demonstrate how the masculine police series drama genre may be not only intervened, but is ultimately deconstructed by, the abject female body.     

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.”     

“May the Force be with Katie”

Responding to the 2010 media discourse around Katie Goldman—a ten-year-old Star Wars fan bullied for her interest in something perceived to be “for boys”—this essay investigates the relationship between industrial logics of media franchising, postfeminist culture, and the vernacular participation of social media users in regulatory ideologies of gender and sexuality. Reading mediated public performances of support for Katie against the hyper-feminized, industrially-produced “princess” media culture she seemingly rejected, as well as the sci-fi fashion shop HerUniverse that opened up a feminized space of fan subjectivity in the marketing of the Star Wars Star Wars (1977). Film. George Lucas (dir.), Twentieth Century Fox, US. [Google Scholar] franchise, we can see how the transgression of normative consumer ideals by girls became re-inscribed within postfeminist and heteronormative gender roles. While celebrating unruly girl science fiction consumers as “different,” both industry and vernacular media cultures repositioned these figures in relation to beauty, princesses, heteronormative romance, and other postfeminist (but traditionally feminine) ideological frames.     

“Nothing Hurts the Cause More Than That”

The final season of the television series Veronica Mars was marked by a narrative shift from an apparent investment in supporting feminist values to a virulent attack on US feminism. This shift reproduces several of the tenets central to the discourses of the backlash, including the views that feminism promotes hostility towards men, that it has betrayed women rather than advocating on their behalf, and that feminist liberation comes at a tremendous personal cost, which leaves women miserable and unfulfilled. This essay examines the show's transformation into a backlash text within the context of the pressure reportedly placed on writers and producers to increase ratings in order to avoid cancellation. It argues that because the series's reproduction of backlash rhetoric can be read as reflective of the popular view that feminism is antithetical to the values of the US cultural mainstream, it illustrates the influence of the backlash on US market forces, as well as on US popular culture. It also suggests that, in the process, the series reveals a great deal about the ways in which profit motives intersect with, and possibly override, ideological considerations in the production of popular culture texts.     

“It’s (not) handled”: race,gender, and refraction in Scandal

Much scholarship on mediated representations of race and gender claims that contemporary texts are examples of post-race and post-feminism, effectively communicating that our society is past the eras of inequality of races and sexes. Yet, many scholars have also argued that such representations are not so straightforward. Extending the work of this latter group of scholars, we call this tension refraction, a term we define as representational practices that draw attention to, or magnify, innate oppositions and inconsistencies in mediated representations surrounding identity markers. Through a case study of the first three seasons of the television series Scandal, we find multiple examples of refraction, as the protagonist Olivia Pope simultaneously embodies and critiques specific race/gender tropes. This ultimately depoliticizes issues of race and gender by simultaneously calling attention to, and drawing attention away from, those issues.     

Reporting The Women's Movement

This article examines and compares how four British and American newspapers reported the second-wave feminist movement during its most active political period, 1968–1982. Through the use of both content analysis and critical discourse analysis, this study reveals that despite socio-political differences, both US (The New York Times, the Chicago Tribune) and UK (The Times, Daily Mirror) newspapers used a similar range of discourses when addressing the women's movement and its members. While coverage overall can best be described as fragmented and contradictory, I argue that on the surface, there was significantly more “positive” or supportive articles on the women's movement than previous scholars have noted. However, these news stories rarely addressed the ways in which capitalism and patriarchy oppress women as a group, and often created a demarcation between “legitimate” and “de-legitimate” feminists, the latter being anyone who deviates from traditional feminine norms. Such constructions therefore were not only politically incapable of challenging women's oppression, but helped construct feminism as a dirty word, a connotation which still exists today. This paper will also address the emergence and eventual dominance of oppositional discourses, examining the patriarchal and capitalist ideologies used in both countries to rebuff the movement, its members and their goals.     

Sex and the City and Consumer Culture: Remediating Postfeminist Drama

This essay analyzes the video games in the popular Diner Dash franchise, paying specific attention to the games' protagonist Flo. While on its surface, the series appears to be a number of simple games about a waitress, they reflect more complex themes about gender, empowerment, work, and play. Ultimately, I argue that the game series can be seen as an open-ended (producerly) text that invites several possible interpretations (and negotiations) of femininity. By understanding the games in this open-ended manner, we are able to see how different meanings can potentially reinforce beliefs about feminism and femininity with women players—rather than advocating specific kinds of feminisms, means to empowerment, or lifestyles. All of these issues coexist simultaneously within the Dash games, creating a rich potential for media studies analysis, and a better understanding of women's leisure.     

Security or insecurity? Representations of the UK border in public and policy discourses

This article analyses representations of the UK border (in relation to migration) in UK public and policy discourses. It uses methods from corpus linguistics and critical discourse analysis to compare the two discursive domains. A 26 million-word corpus of policy documentation and British newspaper articles published between 2007 and 2014 is examined using the analysis tool Sketch Engine and applying qualitative concordance analysis. The analysis reveals a key difference between the two domains: while the UK border is represented as a security concept in the policy corpus, the corpus of the public newspaper domain frequently and saliently represents the UK border as a concept dominated by insecurity. The article argues that the discursive label of European Union has played a role in contributing to this difference.     

Second Births and the Second Shift: A Research Note on Gender Equity and Fertility

In a set of propositions on fertility transition, Peter McDonald recently proposed that the decline from replacement‐level fertility to low fertility is associated with a combination of high levels of gender equity in individual‐oriented institutions, such as education and market employment, and low levels of gender equity in the family and family‐oriented institutions. Similarly, the “second shift,” or the share of domestic work performed by formally employed women, forms a critical piece of current cross‐national explanations for low fertility. Building on this scholarship, the authors explore whether there is empirical evidence at the individual level for a relationship between gender equity at home, as indicated by the division of housework among working couples with one child, and the transition to a second birth. Results, based on a sample of US couples, indicate a U‐shaped relationship between gender equity and fertility. Both the most modern and the most traditional housework arrangements are positively associated with fertility. This empirical test elaborates the family‐fertility relationship and underscores the need to incorporate family context, including gender equity, into explanations for fertility change.     

Ethnic population projections for the UK, 2001–2051

This paper reports on projections of the United Kingdom’s ethnic group populations for 2001–2051. For the years 2001–2007 we estimate fertility rates, survival probabilities, internal migration probabilities and international migration flows for 16 ethnic groups and 355 UK areas. We make assumptions about future component rates, probabilities and flows and feed these into our projection model. This model is a cohort-component model specified for single years of age to 100+. To handle this large state space, we employed a bi-regional model. We implement four projections: (1) a benchmark projection that uses the component inputs for 2001; (2) a trend projection where assumptions beyond 2007 are adjusted to those in the UK 2008-based National Population Projections (NPP); (3) a projection that modifies the NPP assumptions and (4) a projection that uses a different emigration assumption. The projected UK population ranges between a low of 63 millions in 2051 under the first projection to a high of 79 million in the third projection. Under all projections ethnic composition continues to change: the White British, White Irish and Black Caribbean groups experience the slowest growth and lose population share; the Other White and Mixed groups to experience relative increases in share; South Asian groups grow strongly as do the Chinese and Other Ethnic groups. The ethnic minority share of the population increases from 13% (2001) to 25% in the trend projection but to only 20% under our modified emigration projection. However, what is certain is that the UK can look forward to be becoming a more diverse nation by mid-century.     

Validation of the Satisfaction with Life Scale to Brazilians: Evidences of Measurement Noninvariance Across Brazil and US

Satisfaction with life is one of three hallmarks of subjective well-being, along with frequent positive emotions and infrequent negative emotions (Diener et al. in Psychol Bull 125:276–302, 1999), and the satisfaction with life scale (SWLS; Diener et al. in J Pers Assess 49:91–95, 1985) has been used worldwide to evaluate it. The current study seeks to (a) adapt and gather evidence of validity and reliability of the SWLS for a Brazilian sample, (b) evaluate gender equivalence on Brazilian university students, and (c) test for invariance between Brazilian and US samples. Participants were US (N = 241), and Brazilian (N = 1,388) undergraduates. Results from the Brazilian sample, based on confirmatory factor analyses and measurement invariance tests, showed: (a) evidence of validity of the scale, (b) scalar invariance across gender, (c) scalar invariance within group. However, nonequivalence between Brazil and US samples was found. Such results suggest that within comparisons can be conducted with Brazilian undergraduates, but comparisons between Brazil and the US might be misleading due to lack of invariance. Similar findings have already been reported in other cultures and raise questions about cross cultural studies with this scale.     

Xena Rules

This paper analyzes and discusses “Antony and Cleopatra,” an episode from the popular and highly intertextual action-fantasy television series, Xena: Warrior Princess, in the context of the Roman story arc in the series and more particularly as a “feminized” appropriation of Shakespeare's Antony and Cleopatra. Although Xena's version of this tragedy copies the voluptuous atmosphere of Shakespeare's play, it radically changes its characterization. The Roman triumvirate exemplifies rigid and corrupted power play: Octavius is (as yet) a peaceful idealist, but Brutus (who replaces Lepidus) has murdered Cleopatra, and Antony, although brave and intelligent, is depicted as a ruthless and over-ambitious power politician, who is only taken in by a woman much cleverer than himself. Cleopatra is the victim of the struggle between these oppressive masculine forces, and, unlike Shakespeare's Queen of Egypt, Xena, who replaces her, does not allow her feelings for Antony to divide her from her sensibilities. She never loses sight of the desirable outcome: a mutual weakening of the combative (masculine) forces of empire and colonial expansion through war, and the survival of the traditionally feminine values of peace and justice. She eliminates both Antony and Brutus, and to a much larger extent than Shakespeare's fickle and understandably insecure lover-queen, Xena, a focused and confident female superhero, acts as an empowered and pragmatic ruler, who sacrifices her own love for the greater cause of Egypt's freedom.