Boys will be boys

While lad's magazines such as FHM and Loaded have been subject to critical attention with respect to the way they represent and negotiate models of masculinity, there has been a significant absence of work that addresses the representation of women in these and other publications, such as Zoo and Nuts. In this paper I argue that these magazines normalise pornography through an invocation of the “real,” by encouraging reader action and interaction, and through alignment with women's magazines. The construction and representation of the “real” is difficult to reconcile with the claims of irony used to excuse representation of women as sexual objects. Such claims are indefensible and are symptomatic of hegemonic gender norms in which women are not yet recognised as human.     

After September 11

A major question in studying the relationship between mass media and society is whether mass media are agents of social change or reinforcers of the status quo. This study examined media portrayal of women to explore the relationship between the media and society within the Chinese context. Through a content analysis of 352 cover pictures of Women of China, China's official English women's magazine for foreign publicity, the authors investigated whether and how the media portrayal of Chinese women relates to China's social changes. Our findings show that the image of Chinese women presented by the covers of Women of China is to a large extent influenced by the socio-economic and political-ideological changes in China. Rather than a literal portrayal of the “reality,” it is a symbolic representation of the Chinese women created through the interaction of party ideology, editorial policy, and readers' taste as well as the changing reality of Chinese women's life and work. The interlocking of party control and societal influences has determined the typical images of “Chinese Women” suited to particular periods of time in the contemporary Chinese history.     

Pop,Porn, and Rebellious Speech

In Excitable Speech, Judith Butler contends that rebellious speech constitutes a “risk taken in response to being put at risk, a repetition in language that forces change.” With this in mind, this article examines the politics of employing and altering the language and imagery of “porn” in texts and multi-media performances of (post-)feminist (pop-)artists. The discussions about Elfriede Jelinek's novel Lust in the early 1990s exemplify the difficulties associated with transforming the language of pornography into rebellious feminist speech. The text received extensive media attention, but most critics felt ambivalent about Jelinek's attempt to create artificial, repetitious, pornographic speech and questioned the text's ability to foster any kind of “change.” At the beginning of the twenty-first century, the multi-media performances of Charlotte Roche and Reyhan Sahin aka Lady Bitch Ray again triggered discussions about feminism, pornography, body politics, and sexual expression. Their provocative pop-performances use multiple media outlets, TV, music, and electronic media. They are commercially successful and mainstream media understand them as challenging social conventions. This essay critically examines the politics of Jelinek's, Roche's, and Sahin's texts and performances and contextualizes the politics of their rebellious speech within discussions about social roles, gender, and sexuality.     

Reader Letters to Women's Health Magazines

Women's health magazines emerged as a new cultural industry at the end of the twentieth century, representing a commercial application of the “will to health” developing in neoliberal societies. This paper explores recurring discourses in reader letters published between 1997 and 2000 in two Australian health magazines targeting white, middle-class women. Both GoodMedicine and Nature & Health are engaged in a similar cultural politics, tempting their audiences away from the established women's lifestyle, beauty, and fashion publications by representing health magazine content as natural, practical, and generally “good for you.” Reader letters published in these magazines deploy the discourses of pragmatism, authenticity, and critical engagement as new cultural imperatives for performing the “normal, healthy woman.” However, they offer little recognition of the social determinants of health, or the connections between individual practice and global biopolitics. Reader letters inscribe both the successes and failures experienced in performing the “will to health,” and have considerable potential to facilitate new ways of negotiating these cultural imperatives.     

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.     

Television And The Domestication Of Cosmetic Surgery

An exploration of the discursive production of cosmetic surgery on the television shows Extreme Makeover and Nip/Tuck illustrates that these programmes contribute to and reflect the processes through which cosmetic surgery has become domesticated within increasingly globalised contexts. I demonstrate that across a range of cultural sites, including some feminist scholarship, the press, and surgical television, post-feminist frames have displaced feminist frames for comprehending cosmetic surgery, enabling the culture's surgical turn. Feminist attention to risk, oppressive standards for appearance, and the cultural and discursive location of suffering around the deviant body is displaced by the post-feminist celebration of physical transformation as the route to happiness and personal empowerment. It is this logic that is played out through Extreme Makeover's rendering of surgery as the solution for personal suffering and a meting out of justice to the “moral” individual. Extreme Makeover explicitly domesticates cosmetic surgery by publicising its benefits and undoing the former imperative to hide surgery rather than be viewed as “inauthentic.” As a corollary, the show promotes a system of visual eugenics where “unaesthetic” raced and gendered facial and bodily features are erased. Nip/Tuck gestures toward feminist responses to surgical culture through making its violent interventions into the body explicit, by including a feminist character, and through incorporating plot lines which critique the narcissism and gendered cruelty of surgical appearance work. However, these gestures serve as dramatic devices, the political potential of which is curtailed by the requirements of the melodrama to favour sensational story arcs and to retain a degree of sympathy for the surgeon leads. Thus, both shows contribute to a post-feminist mediascape which renders the inevitability of the culture's surgical turn, providing limited frames for viewers negotiating their own responses to the meanings of cosmetic surgery.     

Love,Lust, and Loss in the Early Age of AIDS: The Discourse in the Body Politic From 1981 to 1987

ABSTRACT

This article explores the idea that the AIDS epidemic constituted a defining moment for the Canadian gay rights movement and illuminates the intricate power dynamics of the development of a community identity. Using grounded theory inductive and deductive content analysis, and interviews with activists from the Body Politic magazine, this article considers notions of health “from above” and “from below” by examining relations between the community and government and their confrontation with medicalization and the medical profession. I also examine how the magazine reported and negotiated issues related to the community’s self-policing and “self-managed oppression” through efforts to promote safer sex and risk reduction.     

Patriarchy,Power, and Female Masculinity

ABSTRACT

This article examines the place of “butch” within the women's movement. The political potentials of butch in both her refusal of patriarchal constructs of femininity and her transmutation of masculinity will be explored. It will be argued that the butch lesbian threatens male power by severing the naturalized connection between masculinity and male bodies, by causing masculinity to appear “queer,” and by usurping men's roles. However, for “butch” to truly have feminist potential, it also needs to be accompanied by a feminist awareness and a rejection of aspects of masculinity that are oppressive to women. Hence, “butch feminist” need not be an oxymoron, but a strategy for challenging male domination and power.     

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.     

Are You the One? China's TV Dating Shows and the Sheng Nü's Predicament

This study looks into TV dating shows in post-millennial China. These widespread shows, exemplified by Fei Cheng Wu Rao (translated, by both local and global media, as If You Are the One), open up an ongoing social forum, which, to varying extents, enables self-articulations and renegotiations of class and gender identities and gives voice to selected female participants of the media. Through the lens of critical discourse analysis, the paper focuses on analyzing the stage arrangements and hidden rules of Fei Cheng Wu Rao, female participants' self-introductions, both male and female participants' depictions of their “ideal” spouse, and the remarks of the host and the two expert commentators. The study argues that these dating shows play upon the predicament of Chinese single women, especially those labeled as “sheng nü” (“leftover women”), who strive for upward social mobility, yet are constrained within the new gender mandate of a market economy. Stigmatizing single womanhood, the dating shows also grant a glimpse of the varied ways the media and women participants play a complicit role in reducing women's potential to resist new forms of male privilege in post-socialist China.     

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.”     

Female Friendship,Idealisation and the “Need” For Violence In Crush

This article develops a feminist critical approach capable of responding to the uniquely pessimistic portrayal of female friendship in Crush (Alison Maclean 1992, NZ). Crush questions the possibility of supportive or empathetic relationships, disclosing instead a powerful feminist “need” for violence, between women. This poses a challenge for feminist theory which has yet to be fully understood (it is the first aim of this article to remedy this). Secondly, the article uncovers the same pessimism at the centre of Melanie Klein's psychoanalytic theories of idealisation, demonstrating the “negativity” of Klein's work and its value for feminist approaches to cinema spectatorship.     

Gay Porn’s Bareback Momentum

ABSTRACT

A profound shift has occurred in the last decade in mainstream commercial gay pornography from condoms to “bareback” (condomless) depictions of anal sex between men. This article explores gay porn’s “bareback momentum” as demonstrated by the displacement of condoms in the 10 most visited gay porn Web sites (that have operated for 10 years or more). While all 10 began by releasing condom pornography, the study finds all except one (Falcon) have since gone bareback—represented visually as a timeline. The sites analyzed are, in order of popularity: Sean Cody, Helix Studios, Lucas Entertainment, Corbin Fisher, Bel Ami, Next Door Studios, Randy Blue, Falcon Studios, Cocky Boys, and Chaos Men. Textual analysis reads each site’s transition individually, yet connections between the sites are the article’s central concern, from which an emphasis on couples and break-up narratives is revealed. Falcon’s commitment to retain the condom is attributed to its brand identity.     

Women's Responsibilities,Freedoms, and Pleasures

In the building of the Swedish welfare state, men and women have been seen as equal in their roles as parents, breadwinners, and citizens. This conception is not confirmed by the images produced by advertising. The article presents an analysis of alcohol-related advertisements published in Swedish women's magazines from the 1960s to the 2000s. The advertisements are approached as representations of gendered performances in which gender is made visible “here and now” by placing women in particular subject positions that are related to private or public spheres and associated with specific kinds of gender norms reflecting women's shifting responsibilities, freedoms, and pleasures. The article asks what kind of drinking-related subject positions have been portrayed as desirable in women's magazine advertisements over the past few decades and how those positions have changed as we move closer to the present day. The analysis reveals both continuity and variability in alcohol-related subject positions in Swedish women's magazine advertisements. It shows how women's responsibilities, freedoms, and pleasures have expanded from the traditional domain of the private sphere to multiple new areas as Sweden has developed from a modern welfare state to a late-modern competition state. However, this does not mean that the traditional gender norms have disintegrated and been replaced by equal gender norms. Rather, it seems that traditional gender norms continue to be reproduced in alcohol-related advertising.     

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.     

There’s a cream for that: A textual analysis of beauty and body-related advertisements aimed at middle-aged women

This article explores the magazine advertising strategies and tactics used by health and beauty products to target middle-aged women. Advertisements found in the April 2013 issues of Shape, Fitness, and Women’s Health were analyzed using intersectionality to determine how these advertisements are presenting messages pertaining to age, gender, and sexuality and how these messages can “other” and marginalize certain identities. The findings suggest that advertisement strategies implement pseudoscience, heteronormativity, hegemonic beauty, and body ideals to establish an idealized version of middle-aged womanhood.     

Women's Alternative Internet Radio and Feminist Interactive Communications

The nude male centrefold spread like a virus through the new women's magazines of the seventies. At the time, and since, the academic gaze has viewed the centrefold as little more than a joke, a failure for feminism and female sexuality. This article returns to the heyday of the centrefold and listens to the responses of ordinary women in reader letters published in the new Australian women's magazine Cleo from 1972 until 1985. It argues that far from being a failure, these representations of the nude male became a practice of popular feminism, one of the early representations of popular feminist desire in mainstream women's magazines.     

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.     

Border Narratives,HIV/AIDS,and Latina/o Health in the United States: A Cultural Analysis

Part of the promise of new technologies at the turn of the millennium included claims that they would engender new forms of social equality. At this time, US marketers promoted new technologies as ushering in a new era of globalized prosperity. My analysis of advertisements within Wired, the flagship magazine of the “digital revolution,” compares marketing texts appearing at the height of the technology boom with more recent examples. In the face of economic uncertainties and increasingly fractured audiences, marketers adopted narrower portrayals of masculinity and femininity. Here, advertisements cultivated a pervasive form of maverick masculinity to place technologies as the province of an elite, white, male subculture. This (re)turn to traditional and conservative imagery is particularly alarming given evidence of women's continuing exclusion in technological cultures and occupations. Ultimately, these portrayals provide insight into the ongoing commodification of notions of dis/empowerment, rebellion, and countercultural revolution within US marketing discourses.     

Feminine Purity and Masculine Revenge-Seeking In Taken (2008)

The 2008 film Taken depicts the murderous rampage of an ex-CIA agent seeking to recover his teenage daughter from foreign sex traffickers. I argue that Taken articulates a demand for a white male protector to serve as both guardian and avenger of white women's “purity” against the purportedly violent and sexual impulses of third world men. A neocolonial narrative retold through film, Taken infers that the protection of white feminine purity legitimates both male conquest abroad and overbearing protection of young women at home. I contend that popular films such as Taken are a part of the broader cultural system of representing social reality that elicit popular adherence to common-sense myths of white masculinity, feminine purity, and Orientalism.