Homeland and neoliberalism: text,paratexts and treatment of affective labor

This essay examines Showtime’s television program Homeland, along with several examples of what Jonathan Gray calls paratexts, arguing that meanings produced through the intersection of text and paratexts create a preferred interpretation of the show’s main character, Carrie Mathison, which aligns with neoliberal and post-feminist ideologies surrounding affective labor. Using textual cartography to map meanings, I locate a preferred interpretation of Homeland that recognizes the instrumental value of affective labor while writing off the deleterious effects as individualized personal issues. This read supports a neoliberal, post-feminist interpretation of Carrie as a pathologically flawed individual woman inept at emotional self-management.     

Pregnancy,Then It's “Back To Business”

This essay theorizes the contours of a post-feminist gender regime that utilizes figures such as Beyoncé in order to hail women as self-governing subjects who make the right choices with respect to career, marriage, motherhood, and the disciplining of their bodies. As a black woman, the narrative about Beyoncé's life and choices has specific implications; it positions professional black women as ideal citizens and mothers and also seeks to reconfigure and normalize representations of the black family. The body, specifically the black female body, plays an important role in attempting to transform and normalize these representations. This essay offers one of the few examinations of black women's relationship to post-feminism. Although post-feminism has been conceptualized in ways that ignore black women, I aim to demonstrate why further consideration of black women's relationship to post-feminism is needed. It is my contention that with successful black women increasingly in the public eye, what they say about feminism and how they relate to feminist politics have important implications for how all women, but especially young black women, engage in types of activism that go beyond placing value on individualism at the expense of the collective.     

The best friend,the boyfriend,other girls,hot guys,and creeps: the relational production of self on Tumblr

This article interrogates how youthful feminine selves are relationally articulated by reference to post-feminist economies of value on the blogging platform Tumblr. I examine a public on Tumblr in which everyday experiences in young women’s lives are narrated through reaction-GIF blog posts. Combining GIFs and captions, the posts capture moments ranging from the rage “when I see some chick getting all flirty with my crush” to the self-satisfaction “when my bestie and I congratulate each other on being the most attractive betches in the room.” In this context, post-feminist individuality is relationally made in two principal ways: through implicit assumptions of the reader as “spectatorial girlfriend” who is able to understand and “get” the references in the posts; and through the key social figures of the best friend, Other girls, hot guys, creeps, and the boyfriend, who are reconfigured as resources through which to tell a normative post-feminist self. Such techniques of conversion and use demonstrate not only that young women are labouring to demonstrate selfhood within frameworks of post-feminist normativity, but that post-feminist cultures also construct social knowledges which young women use to connect with imagined others.     

Posing as art: the ambiguities of feminist body art and the misclassification of Natacha Merritt’s pornographic photographs

At the launch of the twenty-first century, the online pornographic photographs of Natacha Merritt, a young American woman (23 years old at the time), were categorised as art in two publications by art publisher Taschen, precipitating a critical acceptance of her work as such. This particular foray of pornography into an art context was briefly contested by one art critic; however, this relatively rare example of misclassification warrants further investigation in order to better understand the role played by what had, by the late twentieth century, become a pervasive post-feminist culture. Drawing on feminist media studies writing that analyses post-feminist modes of “self exploration,” and feminist art criticism on the ambiguities of feminist body art, this paper argues that Merritt’s “adult-oriented” online digital photographs are more persuasively situated within the increasingly prevalent online genres of the intimate blog and amateur porn. Acknowledging the risk of “collusion” inherent in feminist artworks that focus on the objectified female body, this paper concludes that a compelling critique of a post-feminist (pornified) culture resides in the reactivation of a politics of female sexual pleasure.     

Politics of Sex Appeal in Advertising

This article is an ethnographic exploration of how gender ideologies were negotiated in the South Korea of the 2000s, in advertising texts and in advertising workplaces. Advertising has been criticized for reproducing gender stereotypes, and it is easy to assume that it is men within advertising agencies who are responsible for the objectifying and sexualizing portrayals of women. Yet behind some of the raciest South Korean advertising campaigns were ambitious women, who not only eagerly repeated the marketing adage that “sex sells” but also, provocatively, attempted to obliterate the lingering patriarchal norms and double sexual standards—with sexualized advertising. This article examines the politics of sex appeal in contemporary South Korean advertising by drawing on participant observation at an advertising agency, interviews, and public discourse analysis. Having situated the women's interventions within the cultural–historical context of South Korea, I, first, show how women's embrace of the sex-appeal aesthetic was a strategy to succeed in a male-dominated work environment and, second, detail how fighting gender discrimination with sex-appeal advertising was a profoundly contradictory project. I suggest that the politics of sex appeal in advertising was symptomatic of how women's struggles for equality were collapsing into neoliberal post-feminist sensibility.     

Mediating Healthy Female Citizenship in the HPV Vaccination Campaigns

Analyzing the HPV awareness and Gardasil® vaccine campaigns for the United States (US), we argue that the campaigns reflect “the new public health” model that positions individuals as neoliberal citizens responsible for managing their health and maximizing public health opportunities. The campaigns, directed primarily at girls and young women and their mothers, also mobilized neoliberal discourses of risk, choice, and self-management alongside postfeminist political rhetoric that values empowerment, freedom, choice, and rights. Postfeminist tropes were co-opted by Merck's marketing imperatives in order to produce girls and young women as an agentic, niche market of health consumers. We then foreground a low-budget counter-narrative alternative media campaign produced by young women and disseminated through YouTube. This campaign demonstrates the role of new media in producing alternative perspectives on agentic female citizenship and disrupts Merck's campaign imperatives.     

The Best of Both Worlds?

The Disney Channel hit show, Hannah Montana, constructs contemporary US girlhood and notions of femininity in relation to celebrity, such that its primary girl characters, Hannah Montana, Miley Stewart, and Lilly Truscott, as well as star Miley Cyrus, are positioned as particularly post-feminist subjects. In such a context, each of these girls can be understood as having chosen to perform a femininity that finds its locus in the maintenance and control of the body, as an illustration of her power as a girl, though without reference to feminist gains or “empowerment” rhetoric. Via discursive, narrative, and ideological textual analysis, this project explores the circulation of a post-feminist sensibility, as Rosalind Gill refers to it, and its iterations and ramifications for constructions of girlhood in contemporary media foregrounding girls and attracting young female audiences.     

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.     

Performing Gender on YouTube

The contemporary online environment is often touted as a democratic space, open to perspectives that might regularly be excluded from professionally-controlled media platforms. However, females are underrepresented on YouTube, a popular video-sharing internet social media platform. This underrepresentation of women suggests that gender matters on YouTube. In order to contribute to research on gender dynamics on YouTube, this study focuses on the most-subscribed female YouTuber, Jenna Mourey. The first part investigates the degree to which Mourey's YouTube reception could be understood as misogynistic and hostile. To this end, comments on Mourey's top-ten videos were compared to viewer comments on the top-ten videos of a male counterpart: Ryan Higa. The second part of the study focuses on the content and style of Mourey's video oeuvre in order to contribute to research on YouTubers who successfully negotiate a hostile environment. Mourey's tendency to perform gender extremes—both masculine and feminine roles—is an ongoing feature of her videos, allowing her to simultaneously critique and benefit from traditional gender roles. This two-part study of gender on YouTube thus both supports research describing harsh responses to women on video-sharing sites and offers one YouTube performer's strategy for achieving success in this environment.     

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.     

Putting Her on the Shelf

This article analyzes discourse around pop stars Katy Perry and Nicki Minaj as fragrance spokeswomen. It mobilizes the term “post-feminist entrepreneurialism” to describe business strategies for female recording artists representing themselves as workers and capitalist subjects through the endorsement of mass-produced, hegemonically feminine consumer products that exploit individual brands to engender feelings of proximity and empowerment in consumers. Because such entrepreneurial efforts extend female pop stars' industrial viability, post-feminist entrepreneurialism is defined through a critical reclamation of “shelf life,” or the timespan that a commodity can be stored before it spoils. This concept is meaningful for female celebrities who embody the passage of time in complex ways and defend themselves against industrial and cultural perceptions of their own disposability. Post-feminist entrepreneurialism describes the contradiction between empowerment and the erasure of agency for such media professionals. Thus “shelf life” metaphorizes the affective registers embedded within the consumption of endorsed products and the demands placed on female pop stars to sell normatively feminine ancillary properties.     

“Everyone Can Make Games!”: The post-feminist context of women in digital game production

After over a decade of scholarly research and well-documented harassment, sexism, and other forms of exclusion and marginalization, digital games culture is currently the object of heightened attention and discourse related to diversity and inclusion. This paper considers the context of this shift with a particular focus on the relationship between gender-focused inclusivity-based action in the form of women-in-games incubators, post-feminist discourse, and the neoliberal context of digital games production. As opposed to rife anti-feminism and similar “backlash” sentiments, articulations of post-feminism within the digital game industry provide insights into the tensions inherent in introducing action for change within a conservative culture of production, particularly for women in the industry. At the same time, the contradictions and tensions of the post-feminist ethos allow for actions that function through this logic while subverting it. Through a brief consideration of three exemplary post-feminist articulations by visible female figures in the North American digital games community, this article explores the challenges and opportunities presented by the gaps and contradictions of post-feminism in games culture and production. It concludes with equal measures of caution and optimism, indicating future directions for study and activism.     

The Real Housewives,gendered affluence,and the rise of the docusoap

In this paper we position gendered affluence as a representational trend in dramatic comedies (e.g., Sex and the City [SATC]) and docusoaps (e.g., The Real Housewives [TRH]) that coalesces around themes like hyper-femininity, nouveau riche values, and conspicuous lifestyle. Through our analysis we suggest that institutional practices (identity politics, cybernetic commodification, and post-feminist technological interactivity) situated in a neoliberal context and a remediated environment enable the systematic reproduction of gendered affluence in the broader landscape of women’s television. The process of remediation is used as a lens to examine how the docusoap differs from (the immediacy of mediated self-performance) and resembles (the hypermediacy of mediated irony and post-feminist interactivity) the fictional portrayals of gendered affluence found in dramatic comedies like SATC. Our case analysis of TRH demonstrates the specific way non-fictional portrayals of gendered affluence are transforming genre (via an ethos of affluence and a consumerist ethic) and artfully maintaining the status quo in terms of gendered, raced, and classed intersections. Ultimately we argue that the docusoap is accomplishing this in a remediated environment that promotes a neoliberal agenda via affective engagement grounded in mediated self-performance and rational disengagement grounded in mediated irony.     

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.     

“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.     

“Sexy” And “Laddish” Girls

Unpacking ideologies at work within contemporary popular media discourses about young womanhood can be challenging when the terrain of their representation is often presented in a kind of binary-oppositional fashion. There is concern that in contemporary popular culture traditional gender roles are becoming even more entrenched, with femininity increasingly defined around notions of (hyper, hetero-normative) “sexiness.” At the same time, it seems that certain aspects of masculinity, namely sexual hedonism and social, drinking-centred hedonism, have conditionally opened up to young women. The panics that exist around both the figures of the “sexy girl” and the “laddish girl” lead me to unpack here how it is that concerns about women's excessive “sexiness,” and the gendered reinforcement of the sex-object role, relate to discourses of gender “transgression” that often circulate around the figure of the “ladette,” and the supposedly new-found freedoms she is exercising. I suggest that while the figures of the “sexy girl” and the “laddish girl” are both to some extent deplored and constructed as “excessive” and “transgressive” in recent media discourses, they are also both normalised and publicly imag(in)ed through such discourses as central post-feminist paradigms of young womanhood. I go on to explore a possible ideological function of the co-existence of “sexy” and “laddish” girls as normative figures within contemporary media culture.     

Teaching Students to Challenge the War-as-Justice Rhetoric

This paper will examine former supermodel Tyra Banks as a contemporary “celebrity entrepreneur,” focusing on Banks' recent shift from television persona to multimedia icon within a neoliberal popular culture. I argue that our contemporary new media environment, marked by convergent media texts, self-branding, and interactivity, provides an ideal space for Banks to produce and globally circulate her postfeminist star text. Through her websites, Facebook, and Twitter confessionals, Banks is able to successfully navigate the contradictory discourses that insist female celebrities be both “authentic” selves while maintaining a disciplined, hegemonic femininity that becomes legitimized and naturalized. I conclude that while Banks' mobilization of a hypervisibility and sense of individual agency generates an authenticity that may resonate with her fans, she remains contained by the neoliberal and postfeminist discourses that allow her to have such a prominent Internet presence. Consequently, this paper serves to raise unexplored questions about the relationship between celebrity culture, postfeminist and neoliberal subjectivities, and new media.     

Playmates and Polygamists

This paper explores the feminine reclamation of polygamy seen in female-oriented American television shows Big Love, The Girls Next Door, and Sister Wives in terms of their commentary on contemporary gender roles in neoliberal society. Reception discourses suggest these programs respond to feminine frustrations with the burdens of work and domesticity and the isolation associated with hyper-individualist late capitalist society. Using textual strategies associated with feminine media forms and contemporary feminine culture, such as the investment in the female group, the female gaze at the female body, and the reclamation of feminine history, these shows demonstrate femininity's capacity to critique as well as support mainstream society. Still, femininity's tendency to merge escapism and cultural critique, seen in all three shows, points to the difficulty of considering it progressive or regressive, instead suggesting that it should be considered as a different conceptual and social space, as a varied set of structures, practices, reading protocols, and an ethics of self that patriarchal cultures cannot easily co-opt.