Shanghai(ed) Babies

Chick lit's emphasis on choice, agency and conspicuous consumption has been linked to the impact of Anglo-American neoliberalism. This paper argues that the similarly themed global chick lit, springing up in developing countries and ex-communist countries in recent years, works in tandem with the economic policies of global capitalism that breaks down national/geographical borders and promises a desirable world order of universalized choice and freedom. More than just the Western commodities and Western-defined and locally endorsed values of beauty and femininity, the global chick lit propagates the idea of a neoliberal, global sisterhood of chic, empowered, consumerist and individualistically minded women who find freedom through consumption and progress in following Western commodities and values. Here geopolitics and biopolitics combine together to aid the expansion of Anglo-American neoliberal ideas. This paper uses Shanghai Baby as an example of the global chick lit in China, a hitherto unexplored market. Set in China's most Westernized city, this novel portrays a new generation of young, urban, professional Chinese women who celebrate material pleasure and increased sexual agency in the context of China's market liberalization and the influx of global capital. While reflecting the impact of neoliberalism, the global chick lit also hints at the gaps between the local and the Western and the uneven nature of economic development, thus setting into greater relief the inherent race and class hierarchies and exclusions behind the neoliberal rhetoric of universalized choice and freedom.     

Feminine Sexualities in the Chick Genre

This paper foregrounds the voices of women who read chick lit or watch contemporary chick flicks or both, and who, to date, have been absent in the scholarship on representations of women's sexuality in this genre. It is informed by an empirical study of responses from forty-one Australian women to an anonymous Internet survey that asked, “How do you think women's experiences of sex are portrayed in the chick genre?” and “If you were a writer of the chick genre, how else would you portray women's sexual experiences?” Following the works of Jonathan Potter and Margaret Wetherell, and Joke Hermes on “interpretive repertoires,” the data reveal that most readers draw on two repertoires to interpret representations of women's sexuality—one, as “passive or asexual,” and the other as “perfect with Mr Right”—both of which are situated within a wider “romantic love” frame of reference. Participants are, predominantly, critical of the way women's sexuality is represented in the chick genre. The findings, that also show that most readers have a preference for texts that show a broader range of sexual representations for women, are discussed in the light of current theorizing about postfeminist texts.     

Women are angry!

This essay examines the BBC comedy pilot Lizzie and Sarah as a dissonant account of contemporary femininities. With reference to work on the grotesque, and to contemporary television comedy's use of the grotesque as a strategy, I argue that this uncommissioned pilot episode offers an incisive critique of contemporary anxieties about middle-aged women and teenage girls. While the narrative employs parody and hyperbole to humorous ends, critical commentary around the show, from its producers and from broadsheet journalists, indicates that it overstepped boundaries in terms of its account of heterofemininity. Comparing Lizzie and Sarah to makeover shows on British television, the episode constitutes an ironic feminist makeover, with its protagonists choosing to kill their oppressors rather than submit to the disciplinary regime of heterofemininity. A close analysis of the dialogue, costumes and mise-en-scene is deployed to read this comedy as a scathing commentary on the continuing limitations of television femininities.     

“I’d like an abortion please”: rethinking unplanned pregnancy narratives in contemporary American cinema

Released in 2014 and 2015, respectively, the American indie films Obvious Child and Grandma each feature a central protagonist who is dealing with an unplanned pregnancy and is pursuing an abortion. These pro-choice narratives not only challenge Hollywood cinema’s repetitive depiction of unplanned pregnancies that result in motherhood, but they critique the dominant political and societal discourses surrounding abortion and women who choose to terminate pregnancies. Tracing the history of cinematic portrayals of unplanned pregnancy, and reflecting upon how post-feminist culture has positioned the notion of choice, this paper notes the significance of Obvious Child and Grandma as films that not only feature abortion as a central theme, but utilize comedy in their navigation of a controversial subject. Furthermore, this paper argues that in their frank and positive engagement with termination as a potential resolution to an unplanned pregnancy, these films offer important attempts to destigmatize the subject of abortion.     

Comic revisions? Motherhood and women’s comedy in contemporary Germany

Maternal stereotypes and the realities of mothering are prominent themes in Anke Engelke’s Ladykracher and Martina Hill’s Knallerfrauen, two of the most popular sketch shows in twenty-first-century Germany. This article relates their success to social anxieties about motherhood, which Engelke and Hill illuminate through the theme of their sketches as well as through their very use of comedy to do so. I begin by using close-readings of Ladykracher and Knallerfrauen to illuminate the political potential of the sketch form to challenge maternal myths and articulate taboo feelings such as maternal ambivalence. I then consider the innovation of these maternal sketches in view of traditional theories of comedy, which paradoxically draw their imagery from the realm of the maternal even though they discount real women and mothers as comic agents. I argue that the maternal sketches of Engelke and Hill are thus doubly subversive, challenging maternal taboos as well as the discursive and generic norms they sustain.     

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.     

“Flawed Vessels”

The 2008 election was a watershed year in presidential politics, with two prominent women, Hillary Clinton and Sarah Palin, drawing national media attention to gendered themes during the election. This study investigates whether/how the media connected these historic female candidacies to feminism by evaluating the national news media's framing of feminism during the election. Using qualitative media discourse analysis, we analyze how discussions of these two prominent female candidates, as well as Barack Obama, were linked to framing of feminism in the news media. During the 2008 presidential election, the media recast evaluations of Hillary Clinton, Barack Obama, and Sarah Palin into a discussion of the status of modern feminism. The news media framed the movement as fractured, highlighting existing conflicts within the feminist movement, while legitimizing post-feminism and choice feminism through the perspectives of the Obama and Palin nominations. The news media also trivialized the movement by emphasizing style over substance in their assessments of whether candidates were (or were not) feminists. The results suggest feminist movement actors and goals may not substantially benefit from greater media attention prompted by increasing numbers of female candidates.     

Empowering Members,Not Overpowering Them: The National Organization for Women,Calls for Lesbian Inclusion,and California Influence, 1960s–1980s

Standard accounts of the National Organization for Women (NOW) seriously underplay the duration of tensions between heterosexual and lesbian NOW members and the ways those tensions included both racialized analogies and tactical concerns. Based on personal papers, archival sources, interviews, and a re-evaluation of printed sources, I argue that by considering the perspective of national, state, and local lesbian feminist NOW members, we see tensions from the 1960s through the 1980s that have been missed by studies that focus either on NOW or on the growth of lesbian feminism or on second-wave feminist development generally. To legitimize their position, White lesbian feminists analogized their oppression with that of racial minorities while claiming to be better feminists than heterosexual women. Their approach is significant to conceptualizing the scope of feminist issues and tactics, the ways White women's discussion of race exacerbated racial divisions, and the fate of the Equal Rights Amendment.     

Frontline Farmers,Backline Sources: Women as a tertiary voice in climate change coverage

Gender meaning construction and interpretation, which suggest women's inferiority to men, is deeply rooted in social-cultural signs and codes drawn from traditional contexts. In Uganda, girls start to face this reality at an early age. Among low income earning families, very few are enrolled in school, thus as they grow up they suffer from invisibility created by low education and income levels. This paper notes how such gender realities in the media have been investigated in other parts of the world and that the general thesis has been that the media have “marginalized women in the public sphere.” Turning to the position of women as both sources and reporters, in Uganda this area of inquiry has been given little scholarly attention. To fill that gap, this essay draws upon feminist media theory to help contextualize findings obtained through content analysis (N = 671) data drawn from two Ugandan newspapers. Using climate change as a coverage issue, since 56 percent of women in Uganda are farmers, the results of this study show that the gender gap in Uganda is highly pronounced, with women as sources ranked third in importance after men and anonymous sources.     

Hormones and Silk. Gay Men in the Spanish Film Comedies of the Transition to Democracy (1976–1981)

This article studies the representation of gay men in Spanish comedies of the 1970s. It analyzes how cinema used the stereotypical image of gay men projected by the dictatorship and how, once it ended, this image endured in the comedy genre. It introduces film theories on the construction of humor taken from relevant authors, such as Jordan, Charney, Voitylla, and Petri. Afterward, it focuses on the works of Ozores as a filmmaker who encapsulates the main characteristics of the so-called comedia de mariquitas (sissy comedy). It analyzes how the construction of humor was based on the Francoist conception of gay men, and questions why the figure of the gay man was so effective in the production of comedy. Finally, this article refers to Dyer's theories around stereotyping, and develops them to study the Spanish context.     

“I would do it again”: Past and present experiences of older lesbians

ABSTRACT

Few studies have asked older lesbians to reflect on the primary experiences of their life. The following provides the responses of a nationally representative sample of 221 lesbians over the age of 55 to an open-ended question on anything they wanted to share. Through triangulated data analysis, resulting themes include the importance of the Women’s Movement, coming out, as well as the role of discrimination. Underlying each of these were the importance of social connection and for some the increasing experience of disconnection. Implications for gerontology practice, policy, and future research are included.     

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.     

Negating Identity: A Feminist Analysis of the Social Invisibility of Older Lesbians

SUMMARY

Older lesbians are invisible both within and outside of the lesbian community. Using a postmodern and lesbian feminist approach, in this article we identify a paradox in our society which defines lesbians in terms of their sexuality while older women are generally viewed as asexual. We suggest that this paradox contributes to the invisibility of older lesbians. Our focus is on the interactive nature of the relationship between personal and public constructions of lesbianism in the lives of older women. Finally, we discuss the potential impact of invisibility on self-identity, and using a feminist gerontological framework suggest implications for the empowerment of older lesbians.     

Life-Stories and Storied Lives: Genre and Reports of Lived Experience in Gay Personal Literature

ABSTRACT

Personal literature may be written either as a life story such as an autobiography or memoir or as an autobiographical novel. Using the three volumes comprising the memoir of author Paul Monette and the three volumes comprising the autobiographical fiction trilogy of journalist and novelist Edmund White, this article explores the goal of each author for selecting a particular genre in which to write about lived experience. Each author enjoyed an elite education and came to adulthood in postwar America in the decade prior to the gay rights era beginning in the 1970s, and each writer participated in the sociosexual culture emerging over the succeeding decade. Each writer became HIV+ in the 1980s (Monette died of complications attending AIDS in 1995), and each writer experienced the loss of his lover to AIDS. While Monette and White each experienced the anti-gay prejudice of postwar American society, Monette's youth was less troubled than that of White who grew up in a complex family with a distant yet harsh father toward whom he was also sexually attracted. While Monette's goal in writing a memoir was that the suffering of his generation of gay men should be remembered, White's goal was more personal, choosing autobiographical fiction in his effort to overcome his feelings of shame about being gay founded on his desire for his father.     

Digital feminisms: transnational activism in German protest cultures

Abstract

This Introduction provides the context for the articles in this special issue and identifies a set of reoccurring themes. After offering some historical background on the developments of feminist activism and feminist movements in the German context, the editors particularly highlight two main and interrelated thematic strands: feminist activism under or in neoliberalism and the complexities of negotiating questions of race and difference between women in feminist activisms in the highly visually determined digital age. Reflecting on the arguments in the different contributions in this volume, this Introduction seeks to suggest ways in which the ambivalent messages that digital feminist activisms create in the contemporary political moment become politically productive.     

Unclaimed Treasures: Older Women's Reflections on Lifelong Singlehood

ABSTRACT

Ever-single, older women are a diverse group, whose experiences of singlehood have received little attention from researchers. In this qualitative study, eight women between the ages of 65 and 77 living in a mid-sized Southwestern Ontario city were interviewed about being ever single, including their perspectives of the benefits and drawbacks of this status at their current age. Data were collected in semi-structured interviews, and the constant comparative method was used for data analysis. Emergent themes illustrated how the women's stories of singlehood were affected by the sociopolitical contexts of their youth. Upon reflection, the women articulated the benefits of lifelong singlehood, strongly emphasizing their independence and “ability to be alone,” which was viewed as very important as they aged. The drawbacks of singlehood focused on loneliness and the absence of a social support network, which took on particular importance as the women experienced increasing age and frailty. Overall, the participants expressed satisfaction with their marital status and defied common stereotypes about older, single women. Implications of these findings relate to the social structure of marital status and its impact upon the lives of women who remain single.     

“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.     

Innocent victims,creepy boys: discursive framings of sexuality in online news coverage of the celebrity nude photo hack

Following the hack, theft, and digital dissemination of hundreds of nude celebrity photographs—colloquially referred to as “The Fappening”—in August 2014, online news sites filled with speculation about and commentary upon the actions of both the hackers and the celebrities. Through a critical discourse analysis of coverage of the female celebrities and hackers in six online news outlets this project presents “The Fappening” as a case study for better understanding the ways in which the media produces discourses about sexuality, particularly sexual deviancy and victimhood. The discourse surrounding this incident was inflected with feminist ideals. The celebrities were constructed as victims not only of the hack but of broader structural issues around women’s bodies, while the hackers and posters of the photos were derided as perverted, lonely thieves. Overall, the feminist leanings of the discourse around “The Fappening” indicate that the actions of the celebrities—that is, taking and privately sharing nude photographs—can be integrated into dominant understandings of sexuality, while the online communities that stole and shared their photos must be rejected. However, the coverage indicates that celebrities who use their sexual allure for publicity deserve their victimization, undermining the apparently progressive focus of the discourse.     

Toward a gender politics of aging

The article proposes a Gender Politics of Aging approach to the study of aging societies. The approach recognizes the feminization of old age, ageism’s roots in sexist discourse, and the need to recognize the role of politics in driving demographic debates. Drawing together arguments from feminist gerontology and political demography, the article argues that the intersection of politics and gender must be considered if appropriate responses to an older, feminized demography are to be produced. I conclude that the work of aging feminists provides a rich vein of research and praxis from which a gender politics of aging approach can draw.     

Fat Monica,Fat Suits,and Friends

This paper examines narratives about fatness that are represented and reproduced by the character of “Fat Monica” played by Courteney Cox in a fat suit on the sitcom Friends. By drawing on David T. Mitchell's framework for analyzing “narrative prosthesis,” I examine how Fat Monica's narratives on Friends represent complex intersections of identities. I argue that fat suits often evoke fatness to support limited and clichéd narratives; however, fat suits may also enable new means of representing and understanding fatness. Through an analysis of the ways in which Fat Monica is represented in the episodes she appears in, three key uses of Fat Monica's fatness are discussed. Firstly, I examine the comic uses of Fat Monica and their relationship between fatness and humour. Next, I examine how Fat Monica storylines represent interlocking narratives of fatness, femininity, and sexual desire. Lastly, I consider how Fat Monica represents the construction of the normative body and claims about fatness and authenticity. Ultimately, Fat Monica illustrates how fatness relates to understandings of humour, gender, social class, and heterosexuality.