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.”     

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.     

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.     

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.     

Queering Ethnicity in the First Gay Films From Ex-Yugoslavia

Between 2002 and 2005 four of the Yugoslav successor states produced major feature films with lesbian or gay protagonists: Maja Weiss's Guardian of the Frontier (Slovenia, 2002), Dalibor Matani?'s Fine Dead Girls (Croatia, 2002), Dragan Marinkovi?'s Take a Deep Breath (Serbia, 2004), and Ahmed Imamovi?'s Go West (Bosnia and Hercegovina, 2005). As with other films from Eastern Europe that portray queer characters, all of these films were shot by straight directors, and the queer characters are not representations of real local queer communities, but instead are used as metaphors to address topics the filmmakers find more important, such as ethnicity and national identity. The ethnic hatreds that fueled the wars of the 1990s were mobilized through the heterosexual matrix. In these films anxieties about ethnicity are worked out through plots involving queer sexuality, though they work differently for male and female couples: female bodies can be conventionally objectified by the heterosexual male gaze, while male couples become the focus for anxieties about male rape.     

Chicks,Dicks, and Contradictions

This essay examines Playgirl as a rich, yet overlooked, archive in the history of American pornography. Although the magazine often is dismissed as the token attempt of a masculinist industry to equalize its representational politics, I argue instead that a significant synergy exists between Playgirl and entwined debates over pornography, gender, and commercialized sexuality in 1970s America. Employing established conventions of the women's magazine, Playgirl utilized that form toward granting women access to explicit images. Yet given its “better lifestyling” advice on how the sexually liberated woman might find empowerment by viewing male nudes, Playgirl's reluctance to display full-frontal nudity until the midpoint of its first year fashioned an initially compromised aesthetic. Not only were women interpolated as untutored viewers within this regime of genital obstruction, but models also were all but emasculated. Consequently, the degree of male exposure that could be handled by both viewers and models was questioned, critiqued, and debated across Playgirl's letters to the editor section, aptly entitled “In-ter-course.” As an artifact of sexual media history, Playgirl is invaluable because readers are able to trace throughout its pages the ways in which changing tides of gendered power began to problematize pornography's routine dichotomy between masculine subjectivity and female objectification.     

From Beatles Fans to Beat Groups

While much is written about the cultural influence of the vocalist-driven girl groups and female singers of the early-to-mid-1960s, an air of mystery continues to shroud this era's all-girl rock bands—in the UK, US, and worldwide—that performed, recorded, and often wrote their own material. Influenced by the Beatles and the British beat boom that followed, these bands are an important missing link in rock music history, as they epitomize a less overtly gendered, if short-lived, period of the genre. In an era between Betty Friedan's 1963 Feminine Mystique and the changes to come with 1970s second-wave feminism, a handful of musically minded young women were determined to transform their Beatles fandom in order to become co-creators of what was not yet a resolutely masculinist music scene.     

Between the look (la mirada) and the Escape (la fuga): the imaging of women in Solanas' La hora de los hornos and Tangos/El exilio de Gardel

This paper revisits the issues raised in debates on the politics of recognition from the point of view of media practitioners and their experiences in covering women's issues and perspectives. It explores the concerns regarding the attempts to improve media coverage of women's issues and perspectives by looking into one particular women's programme, BBC Radio 4's Woman's Hour. The analysis is based primarily on interviews with members of the Woman's Hour's team and complemented by basic information on the presence of different subject areas and speakers in a sample of actual programming. The paper explores the criteria employed by journalists in their day-to-day decisions regarding the issues and approaches appropriate for the specialist women's programme. It discusses interviewees' definitions of Woman's Hour items and the three main factors that influence their selection of issues and the ways to approach them. The first factor concerns the identity of the programme: its issues, voices, and their diversity. The second factor is the listeners or, more broadly, the public and the ways it shapes Woman's Hour. The third factor is the professional and institutional context of the programme. The concluding discussion examines the ways in which Woman's Hour combines or oscillates between recognition and deconstruction of women's/gender identities, producers' interests and the perceived interests of their audiences, and feminist politics and journalistic principles.     

Written In Blood

Though the heated scientific debate that sociobiology initially generated has largely subsided, speculation on the genetic basis of social behaviors remains a thriving academic discipline and provides valuable content that can be easily translated into compelling newspaper articles, popular magazines, and self-help mass market paperbacks. In Cosmopolitan magazine, statements reflecting the genetic gender-determinism of sociobiology appear in offhand remarks, personal anecdotes, and in lengthy quotations attributed to experts with PhDs. My textual analysis of this sociobiological common sense in Cosmopolitan articles from 1995–2005 represents an in-depth case study of the migration of gender-related science to a popular culture venue for women. I examine the sociobiological theory that norms of female attractiveness advertise reproductive capacity, drawing connections between scholarly works, popular self-help literature, and Cosmopolitan articles. The magazine invokes sociobiological logic to explain and legitimate the laborious techniques of femininity, positioning the female body as a commodity in the marketplace of evolved male desire and reducing it to the signs—real or cosmetically simulated—that reveal the body's underlying reproductive value. I also investigate how Cosmopolitan uses sociobiological common sense about men to construct, exaggerate, and excuse their bad behavior, requiring women to solve or tolerate it. Sociobiology responds to gender inequalities by offering a seemingly rational scientific model asserting that existing gender norms and differences are natural and inevitable.     

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.     

Emile Zola Against Malthusianism

Fertility declined in France earlier than in the rest of Western Europe and remained lower than that of its neighbors throughout the nineteenth century and into the twentieth. France's birth rate in 1900 was around 22 per 1000, compared to about 29 in Britain and 35 in Germany. Worry over depopulation, absolute or relative, has long been a staple element of French population thought. In the late nineteenth century, that concern was expressed in scholarly but vigorous works like Arsène Dumont's Dépopulation et civilisation (1890) and Natalité et démocratic (1898) and in political activism through the National Alliance for the Growth of the French Population. Other population ideas, not always compatible, were current as well—most notably, variants of Malthusianism. This was also a time of ferment in social policy debate over the implications of new ideas about public health and hygiene and about heredity and environment. While supporters and opponents of Malthusian views could often be identified with the political right and left, combating depopulation was the cause of all. Equally, imperial ambition was not confined to one side of politics: few contradictions were seen between socialism at home and colonization abroad. (French territorial ambitions at this time looked particularly to North and West Africa.) Unsurprisingly, many of these themes also cropped up in contemporary novels—among them, those of Emile Zola. Born in 1840 of Italian and French parents, Zola was one of the best‐known writers of his time. His many novels include Nana (1880) and Germinal (1885). He is most celebrated, however, for his passionate open letter J'accuse (1898), denouncing the French high command over the Dreyfus Affair. (Alfred Dreyfus, an army officer, was wrongfully convicted of treason in an atmosphere of anti‐Semitism—a judgment eventually reversed.) Always somewhat of a propagandist, Zola, in temporary exile in the aftermath of this intervention, embarked on a cycle of four novels on the themes of fertility, work, truth, and justice. Fécondité (Paris: Charpentier‐Fasquelle, 1899) was the first of these. Two others were completed: Travail (1901) and Vérité (1903). Justice had barely been begun before his death in 1902. An English translation of Fécondité, by Ernest A. Vizetelly, was published under the euphemistic title Fruitfulness (London: Chatto and Windus; New York: Doubleday, Page, 1900). (Zola often skirted the margins of what was then considered acceptable language and subject matter, and Vizetelly had been jailed in England for an earlier Zola translation.) Fécondité is a didactic moral fable rather than a significant work of fiction. The Fortnightly Review (London) of January 1900 wrote of it: “The tale is a simple one: the cheerful conquest of fortune and the continual birth of offspring.” Mathieu and Marianne Froment, the central characters, convey Zola's anti‐Malthusian views through their life story—the meaning of which is underlined in the author's fulsome commentary. At the start of the novel, they are poor but already have four children. By its end, still stalwart and celebrating 70 years of marriage, they have had twelve, seven surviving, together with innumerable grandchildren and great grandchildren. Over the same period, through hard work and prudence, they have gradually amassed a large and highly productive landed estate, Chantebled, much of it acquired from once‐rich but feckless (and unprolific) neighbors whose decline in fortune mirrors the Froments' rise and whose depopulationist views are thereby shown to be groundless. (A fuller précis, also describing the novel's gothic subplots, is given in Michael S. Teitelbaum and Jay M. Winter, The Fear of Population Decline (Academic Press, 1985), pp. 25–27.) The excerpts below are taken from the 1900 translation. (The page numbers refer to the more accessible 1925 reprint.) The characters mentioned, aside from Mathieu, are:

• Beauchêne, a relative of Marianne, owner of a farm equipment factory
• Boutan, family physician and friend of Mathieu
• Moineaud, a mechanic in Beauchêne's factory
• Santerre, a fashionable novelist
• Séguin, “a rich, elegant idler” whose estate is gradually lost to the Froments

The absence of a female voice on the matters discussed is faithful to the novel.     

Pierre Bourdieu on Marriage Strategies

Societies, virtually by definition, are in the business of social reproduction. They maintain institutional forms and cultural patterns more or less intact, though not of course unchanged, as their individual members age and die and the young are acculturated and assume adult roles. Social reproduction also takes place at the family level—through the social and biological processes entailed in family succession— but there the outcomes owe much more to fortuity, to the luck of the draw. Nonetheless, families become adept at doing the best they can with whatever hands they are dealt—if need be bending the rules, hedging, bluffing, and coercing. How they do so is highly contingent on each society's circumstances and cultural repertoires, but traditionally marriage decisions offered the principal opportunities and held the major potential risks. The case study of family marriage strategies in a village of the French Pyrenees by Pierre Bourdieu, excerpted below, gives an exceptionally lucid and illuminating dissection of this domain of life—as it had persisted perhaps for centuries and into the 1950s and 1960s. Pierre Bourdieu was born in 1930 in a Béarn village of the Atlantic Pyrenees like that described. He held an appointment at the University of Algiers in the 1950s, during the years of colonial conflict leading up to independence, and his early research was on Algeria. From 1964 he taught at the École des Hautes Études en Sciences Sociales and later also at the Collège de France as professor of sociology (succeeding Raymond Aron), and became one of France's most prominent public intellectuals—exercising an influence that would be virtually unknown among English‐speaking sociologists. His major interests, in some respects prefigured in the present study, concerned aspects of cultural reproduction, particularly how educational systems reproduce class and privilege. His major works include Distinction (1979), The Logic of Practice (1980), and The Rules of Art (1992). He died in January 2002 at the age of 71. The case study excerpted below was published as “Les stratégies matrimoniales dans le système de reproduction,”Annales: Économies, Sociétés, Civilisations (Paris), vol. 27, no. 4/5 (1972). The translation, by Elborg Forster, appeared in Family and Society: Selections from the Annales, edited by Robert Forster and Orest Ranum. © 1976 by The Johns Hopkins University Press. Reprinted with permission of The Johns Hopkins University Press. The excerpt is from pp. 122, 124–125, and 132–141.     

“Nyota Uhura is Not a White Girl”

This essay examines the online debate surrounding representation of the Black/African character of Lt. Uhura in the 2009 prequel film, Star Trek. Some fans, particularly those viewing the film from a gender/race intersection, applauded her portrayal, while others, including many “slashers” who espouse a homoerotic reading of classic Trek from an ostensible gender/sexuality standpoint, disapproved—especially of Uhura's romantic storyline. Virtual observation and appraisal of these discourses demonstrate the adaptability of Patricia Hill Collins' intersectionality framework to studies of media reception, especially in terms of hegemonic and interpersonal domains of power and cultural studies notions of articulation. Accordingly, the investigation finds the first fan faction's rhetorical efforts more authentically and pro-actively oppositional.     

A Single Man and a Tragic Woman

Depicting the fraught relationship between a gay man and his straight female best friend, Tom Ford's A Single Man (2009) offers a complex, and often contradictory, depiction of its leading female character, Charley. At once glamorous and troubled, stunning and damaged, Charley reproduces a number of problematic stereotypes regarding women, in general, and fag hags, in particular. At the center of these problems is the film's insinuation that Charley has a melancholic attachment to George, her gay male companion. At first glance, A Single Man reproduces Freudian constructs of melancholy as a pathological response to traumatic loss; this essay argues, however, that the film's many ambivalences also offer opportunities for critical consideration of melancholy as a tactical response to heteronormativity.     

Sexual Messages in Black and White: A discourse analysis of Essence and Cosmo

The research presented employed critical discourse analysis to examine advice columns on sex and women's sexual freedom as expressed in two popular women's magazines, Essence and Cosmopolitan, over a three-year period. Essence has a Black female audience, Cosmo a predominantly White female audience. Critical discourse analysis is concerned with language as a primary force for the production and reproduction of ideology and belief systems that come to be accepted as common sense. The study asked whether and to what extent sex talk in these two magazines mirrored tenets of sexual liberation as set forth by “second-wave feminism.” Findings showed that while both magazines reinforced women's right to sexual pleasure and to ask for what they wanted, Essence came closest to mirroring the tenets of women's liberation by advocating women's right to say no to men's bad behavior and to be their own persons. By contrast, Cosmo advised women to be innovative in exciting and keeping their men and to be more flexible in managing men's less than desirable behavior.     

Buffy's Voice

This paper studies the narrative use of popular music in the television show Buffy the Vampire Slayer (1997–2003) in order to open the primary television text to feminist analysis. Perhaps in no other way are the implications and contradictions of presenting BtVS's feminist narrative on television more obvious than that revealed in the analysis of the popular music soundtrack     

“A Girl Alone in a man's World”

War films were one of British cinema's mainstays throughout the 1950s, and one of the most iconic of the cycle is Ice Cold in Alex (1958). This particular film overturned some of the already familiar conventions of the genre, not least by allowing a female character, the nursing sister Diana Murdoch (played by Sylvia Syms), to play a more important role than women were usually granted. This article deploys close textual analysis to examine the representation of Diana, and suggests how this character not only reflects various competing and often self-contradictory discourses of 1950s femininity but also offers a rare depiction of women's contribution to the war effort from the decade following it.     

An alternative formulation of the birth function in a two-sex model

The inconsistency in Lotka's stable population model (two different intrinsic growth rates for the two sexes) arises from the fact that he considers two equations (for male and female births), and not because his equation for one sex does not involve the other. Many authors in the past have erroneously put emphasis on the latter point and modified Lotka's equations for male and female births. Since sex ratio at birth is constant, two independent equations for male and female births cannot exist. The correct approach is to attempt to form an equation for all births. The author followed this approach in his earlier works on the problem, but his birth functions were formulated from axiomatic considerations. The present paper provides a new birth function which has an intuitively appealing physical interpretation, and for which the interaction between the sexes is empirically determined from the data.     

Cinderella's Having a Ball

“Ugly Betty Mania” has created numerous versions of this telenovela across the globe. This paper explores the representational schema within the franchise's Cinderella/Ugly Duckling narrative, whilst focusing on the exclusionary notions of beauty in Mexico's hit 2006 production La Fea Más Bella (“The Most Beautiful Ugly Girl”). By reading the slapstick comedy within this version through feminist theories of laughter, this paper identifies representational modes that challenge traditional Manichaean formulas within the Mexican telenovela, which are tied to notions of good (beauty) and evil (ugliness). Examining this telenovela's popularity through a cultural and industrial analysis, this paper uses data from interviews with industry professionals to consider how an increasingly disengaged Mexican telenovela viewership may have been recaptured through the slapstick gender dynamics of La Fea Más Bella.