Rape,storytelling and social media: how Twitter interrupted the news media’s ability to construct collective memory

Abstract

This study, using the Mary Kay LeTourneau interview on ABC’s 20/20 television program, investigates how social media coupled with citizens’ voices interact with mainstream media in the telling of a story and the construction of collective memory. Grounded in discourse analysis, this research examines the 20/20 story and accompanying Twitter conversations to understand how dominant and feminist ideologies about gender, rape, sexual violence, sexuality, and love are presented and (re)articulated in these texts. In doing so, this study considers how a newly opened public sphere via social media may have the capabilities to influence our collective memories and remove some of this long-held power away from traditional mainstream media.     

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.     

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.     

Televisual pregnancy beauty

Theorizing the contours of televisual pregnancy beauty, this essay demonstrates how televisual stylistics construct and communicate a political ideology of pregnancy. When the crime dramas Bones and In Plain Sight incorporated their star actors’ pregnancies, they produced different televisually styled portrayals of pregnancy; these medium-specific portrayals play an important role in how pregnancy itself is culturally conceptualized. Although pregnancy beauty, the commodification and sexual objectification of the pregnant and postpartum body, has been analyzed in ways that link it to post-industrial, neoliberal, capitalist, and patriarchal forces, this analysis demonstrates how televisual style sets the scene for this broader discourse. Specifically, I contend that the costuming, blocking and staging, cinematography, and editing determine how the pregnant body appears, and this then communicates a clear ideology to viewing audiences. Through these two case studies, I analyze contrasting televisual styles and argue that while Bones’ style disciplines the pregnant body and In Plain Sight’s style welcomes the pregnant body, both styles enact a televisual pregnancy beauty that commodifies pregnancy.     

“Little Lena's a Big Girl Now”

Lena Zavaroni became famous as a child star on the British TV talent show Opportunity Knocks in 1974, suffered from anorexia from age thirteen, and subsequently died from complications associated with the problem in 1999, age thirty-five. This article uses 165 press articles from 1974 to 1999 to analyse how Zavaroni's relationship with anorexia was constructed in the British popular press. Existing feminist work suggests that stars with anorexia are worth studying because they make eating disorders popularly visible, with the coverage providing an occasion to analyse how the media constructs anorexia in relation to particular ideologies of femininity. But this article argues that it is important to explore how discourses on fame become intertwined with discursive constructions of anorexia, shaping how such problems are explained and gendered. Because Zavaroni appeared in the media as a child, her trajectory also dramatises how anorexia is seen to be linked not only with the role of the media, but with the development of female identity. Thus, whilst bringing stardom and celebrity into the frame, this article thus seeks to contribute to the feminist work which interrogates how popular constructions of anorexia mark out normative/disordered femininities.     

White Feminist Stories

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

“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.     

Performing identity: Dawn French and the funny fat female body

This paper offers a discussion of the relationship between the discursive tropes consumption and contagion as they inform feminist and popular media interpretations of anorexia. It suggests that although consumption has proved a useful, if not limited source of meaning within feminist readings of anorexia, popular discourses utilize the more sensationalist notion of contagion to describe the relationship between female consumers and images of the slender female body. Through analyses of various examples from Australian popular women's media it argues that contagion displaces feminist arguments which locate the “cause” of anorexia in patriarchy and instead constructs women as a danger to each other and to themselves. By comparing some of the theoretical dimensions of the male and female gaze, the paper suggests that the idea of contagion constructs a problematic model of female vision through a sexual, rather than social register. It concludes that contagion operates in pop discourse as a counter-productive force which sustains a range of anxieties about contemporary femininity and enables the commodification of anorexia as a subject of public scrutiny.     

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

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

Dingo media? The persistence of the “trial by media” frame in popular,media, and academic evaluations of the Azaria Chamberlain case

In the bulk of popular, media, and scholarly discourse on Azaria Chamberlain’s disappearance there is overwhelming consensus that the sensationalist reporting of the event convicted parents Michael and Lindy of their daughter’s murder outside official court processes. In feminist scholarship in particular, the infant’s disappearance in August 1980 has been read according to a “trial by media” frame. This frame persists despite altered perspectives about the role of the Australian public whose punitive and collectively hostile response to a media-driven hysteria has been replaced with the portrait of a kinder and more compassionate nation. The objectives of this article are threefold: to demonstrate the persistence of the trial by media frame in popular, media, and academic discourse; to consider assumptions of a monolithic and hostile media; and by examining a previously unanalysed archive to suggest that these arguments overlook the existence of sympathetic voices in mainstream media as well as the dialogic connection between media and counter-publics mutually supporting the Chamberlains’ bid for innocence. This research offers an alternative view to scholarship on a landmark event in Australian history and has broader implications for the way we view the media in trial by media situations.     

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.     

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.     

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     

Gay Theatre,AIDS, and Taboo: Reconsidering Robert Chesley

Theatre was among the first popular culture forms to address HIV/AIDS and did so memorably in such works as The Normal Heart, As Is, Love! Valor! Compassion!, and March of the Falsettos. As a response to criticisms of stage dramas focusing on HIV/AIDS in the main as undifferentiated and melodramatic, the author suggests critical consideration of two works by playwright Robert Chesley. In her analysis of Night Sweats and Jerker, the author argues Chesley offers an alternative perspective that is both liberatory and sex-positive.     

Good Gay Buddies for Lifetime: Homosexually Themed Discourse and the Construction of Heteromasculinity Among Chinese Urban Youth

Starting as an Internet meme, the homosexually themed gao-ji discourse recently became popular among Chinese urban youth in describing intimate relationships among heterosexual men. Positioned within a body of scholarship on the interplay between language, homophobia, and the construction of heteromasculinity, this article suggests that the gao-ji discourse manifests a form of male homosociality, through which new boundaries of Chinese heteromasculinity may be renegotiated. Based on qualitative interviews with college students, the article first tracks the genealogy of the gao-ji discourse in the wake of China’s booming Internet culture. The main body focuses on unpacking the daily use of the gao-ji discourse, with an attention to the two latent functions it serves (i.e., expanding heteromasculine behaviors and reiterating heteromasculine identities). In conclusion, I argue that the prevalence of the gao-ji discourse mainly resolves straight men’s anxieties against the background of growing public awareness of homosexuality; therefore, it cannot necessarily translate into social acceptance of homosexuality.     

I want my Snooki: MTV’s failed subjects and post-feminist ambivalence in and around the Jersey Shore

As a sexually promiscuous and outrageously flamboyant young woman, Nicole “Snooki” Polizzi of MTV’s Jersey Shore (2009–2012) Jersey Shore. 2009–2012. Television Series. Seasons 1–6. USA: MTV. [Google Scholar] could be said to be the ultimate example of Angela McRobbie’s post-feminist subject. However, as pervasive as post-feminist narratives have become in popular culture, the figure of Snooki problematizes its ideal forms of femininity and meritocratic success. In this paper I argue that Snooki’s potential challenges to post-feminist ideology were contained by news reporting on her at the height of her fame. This analysis posits a noteworthy divide in that those most inclined to watch/consume Snooki-as-text (the MTV audience) likely remained beyond the reach of the news media’s attempt to re-inscribe hegemonic ideologies onto her star image/text. I examine the relation between Snooki-as-text (the Snooki presented on Jersey Shore) and the extra-textual attempts to undermine her popularity and legitimacy. I frame this discussion along three axes of transgression and containment: the sexual empowerment/threat paradigm; the physical markings of class and ethnic subjectivity; and the textual boundaries of meritocratic success. Despite efforts to contain her, Snooki’s short-lived success hints at an ambivalence toward post-feminism today that could help chart a revitalized form of feminist politics within youth-driven popular culture.     

“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.     

Visibly ageing femininities: women’s visual discourses of being over-40 and over-50 on Instagram

Abstract

This article explores visual discourses about over-40 and over-50 femininities that emerge from women’s own Instagram accounts. It analyses women’s visual and textual rhetoric of what over-40 and over-50 looks like, and whether it could interrupt the ageist, sexist, and body-normative discourses of female ageing and visibility. Intertextual visual discourse analysis of images, captions, and hashtags reveals two dominant themes (fitness and fashion) and two repeating rhetorical elements (motherhood and self-sufficiency) through which women make themselves visible as over-40/50. A few explicitly subversive discourses (i.e., over-40 fatshion account) exist, but a discourse of a healthy, fit, fashionable, independent, self-sufficient, and happy mother over-40/50 is prevalent. It easily lends itself to being interpreted as an insidious reproduction of post-feminist ideology, but I argue that there are moments of critique and subversion within. Thus, a reparative reading that acknowledges moments of disconnect from the discourse that normalizes ageing women’s limited or non-existent visibility is offered.     

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.     

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.