首页 | 本学科首页   官方微博 | 高级检索  
相似文献
 共查询到20条相似文献,搜索用时 93 毫秒
1.
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.  相似文献   

2.
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.  相似文献   

3.
There has been a notable cultural trend in which feminist concerns are conveyed through many popular culture texts in South Korea since the early 1990s. Many different social groups and organizations have been engaged in the formation of feminist discourse in popular culture, among them the mainstream media. To broadly address the role of media in incorporating feminist discourse within the dominant ideology in specific socio-economic contexts, the research sought to identify the ways in which feminist discourse was generated and/or assimilated into the dominant ideology in newspaper content about the messages in the two television dramas Lovers (1996) and The Woman Next Door (2003) and other socio-cultural phenomena surrounding the dramas. Newspaper content became more favorable to the sexually liberated female characters and acknowledged changing gender roles as a current socio-cultural trend. However, it never questioned the nuclear family system itself—which occupies the hegemonic realm in patriarchal capitalist society.  相似文献   

4.
My Mad Fat Diary profiles young people falling in and out of love, fighting with their parents, experimenting with drugs and alcohol, and testing limits. Yet the show offers a fresh look at tired tropes by ignoring dramatic conventions that suggest that ugly truths or non-normative bodies should remain out of view and instead sheds light on ignored, but common, teen experiences and identities. In doing so, this television program engages with complex feminist concepts such as intersectionality and narrative instability and renders these concepts intelligible to audiences with varying degrees of theoretical familiarity. This analysis considers how My Mad Fat Diary explores complex feminist concepts and identities. In particular, the show considers the ways that both fat and madness can be viewed as identities which are often stigmatized, but which may also morph into sites of pride through body acceptance work, aligned with fat activism, and a rejection of sanist discourses, in line with emergent work in the field of mad studies. In both its intersectional presentation of teenage experiences and identities and the multifaceted nuances of truth-telling and narrative arc, the show portrays an instance of contemporary feminist grappling with embodied identity, sanity, and complicated and intersected subjectivities.  相似文献   

5.
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.  相似文献   

6.
7.
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.  相似文献   

8.
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.  相似文献   

9.
“I'm Nobody”     
Television and film writer Joss Whedon has produced a number of popular culture works which explore representations of what female bodies are seen to be capable of and how these representations affect what female bodies can do. Texts such as Buffy the Vampire Slayer (1997–2003), Serenity (2005), and Dollhouse (2009–2010) are as much celebrated for subverting gender and genre conventions as they are criticized for reinforcing sexualized images of women and violence. Instead of approaching Whedon's texts in terms of their representations of gender, and how feminist or otherwise these representations are, this paper explores the ways in which Whedon's texts suggest that subjectivity is textually and discursively constructed. In particular, I will stage a reading of his latest television program, Dollhouse, as a representation of the somatechnical construction of bodies and identity. Somatechnics refers to the inextricable connection between the soma, the material corporeality of bodies, and the techne or techniques and technologies through which bodily being is produced and lived. By making visible the somatechnics of bodily being and the ways gender and embodiment are experienced through and produced by cultural and discursive technologies, Dollhouse emphasizes the role of power in the construction of embodied identity rather than something which always or inevitably oppresses and constrains bodies gendered as female.  相似文献   

10.
From their initial appearance on US broadcast network television in the mid-1970s to their feature film incarnations in 2000 and 2003, the characters known as Charlie's Angels have been at the center of American popular culture's negotiations over feminism, femininity, and the relationship between the two. This article analyzes the “remaking” of Charlie's Angels over the past 30 years as a means of considering the “remaking” of discourses of feminism and femininity in a changing historical context. In addition to considering the original television series, this analysis also examines attempts to “clone” the series in late 1970s TV, parodies of and homages to the series in 1990s television and film, and the twenty-first-century feature films. I argue that analyzing the various re-imaginings and remakes of Charlie's Angels can be a means of revealing how post-feminism, as a series of cultural responses to feminism, has wound its way through American popular culture over the past 30 years, achieving an increasingly naturalized, and thereby more hegemonically entrenched, position over time.  相似文献   

11.
“Ugly Betty Mania” has created numerous versions of this telenovela across the globe. This paper explores the representational schema within the franchise's Cinderella/Ugly Duckling narrative, whilst focusing on the exclusionary notions of beauty in Mexico's hit 2006 production La Fea Más Bella (“The Most Beautiful Ugly Girl”). By reading the slapstick comedy within this version through feminist theories of laughter, this paper identifies representational modes that challenge traditional Manichaean formulas within the Mexican telenovela, which are tied to notions of good (beauty) and evil (ugliness). Examining this telenovela's popularity through a cultural and industrial analysis, this paper uses data from interviews with industry professionals to consider how an increasingly disengaged Mexican telenovela viewership may have been recaptured through the slapstick gender dynamics of La Fea Más Bella.  相似文献   

12.
The last decade has witnessed a proliferation of lesbian representations in European and North American popular culture, particularly within television drama and broader celebrity culture. The abundance of “positive” and “ordinary” representations of lesbians is widely celebrated as signifying progress in queer struggles for social equality. Yet, as this article details, the terms of the visibility extended to lesbians within popular culture often affirm ideals of hetero-patriarchal, white femininity. Focusing on the visual and narrative registers within which lesbian romances are mediated within television drama, this article examines the emergence of what we describe as “the lesbian normal.” Tracking the ways in which the lesbian normal is anchored in a longer history of “the normal gay,” it argues that the lesbian normal is indicative of the emergence of a broader post-feminist and post-queer popular culture, in which feminist and queer struggles are imagined as completed and belonging to the past. Post-queer popular culture is depoliticising in its effects, diminishing the critical potential of feminist and queer politics, and silencing the actually existing conditions of inequality, prejudice, and stigma that continue to shape lesbian lives.  相似文献   

13.
Despite repeated acclaim within the television industry, feminist media scholars have argued that TLC’s long-running program, A Baby Story, disciplines women into selecting obstetrical intervention by offering a standard episodic structure for understanding a complex birth experience. This article thickens this line of inquiry by arguing that TLC uses a narrow, but decipherable, range of temporalities to leverage biomedicine’s claim to childbirth. Drawing on the rhetorical concepts of chronos as narrative duration-time and kairos as interruptive moments of possibility, I argue that episodes are structured by a chronic articulation of “family completion” and “hospital biomedical duration” that conditions women to expect a kairotic interruption of selected birth plans. I conclude with implications for studying birth temporalities and rhetorically crafting women-centered birth narratives.  相似文献   

14.
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.  相似文献   

15.
Abstract

This article investigates how discourses of ageing femininity are constructed and negotiated amongst females in Hip Hop. Through the analysis of narratives and imageries constructed within the music and videos of rap veteran Missy “Misdemeanour” Elliott, press responses to Missy’s work and comparative accounts of other prominent female rappers’ performative strategies, this article explores some of the ways that female artists are responding to socially gendered notions of ageing in Hip Hop. I argue that Hip Hop females are in some cases using Hip Hop as a vehicle for subverting age narratives that are commonly associated with ageing femininity. Murray Forman’s concept of “age-representing” is brought into dialogue with representations of ageing Hip Hop females to support this analysis. The writings of Ros Jennings and Abigail Gardner are also drawn on to form a supportive framework by offering comparative accounts of female ageing in other popular music sub-fields. This article aims to contribute to the growing feminist critique of ageing and popular music culture.  相似文献   

16.
The UK television drama Shameless (Channel 4, 2004–2011) ran for eleven series, ending with its 138th episode in 2011. The closing episode did not only mark an end, however, but also a beginning – of a US remake on Showtime (2011-). Eight series down the line and carrying the weight of critical acclaim, this article works to consider the textual representations and formal constructions of gender through the process of adaptation. Paying close attention to the structural elements of recaps, voiceovers, and final sequences of Shameless’ first series, while drawing on the work of feminist narratologists and transnational TV theory, we argue that the examination of gender in narrative reveals differing cultural values between the UK and US.  相似文献   

17.
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.  相似文献   

18.
Scholarship has pointed to contemporary feminism’s popularity and cultural “luminosity.” While this research has highlighted the limitations of feminist politics in a context of neoliberal individualism, this paper seeks to ask what possibilities for critiques and transformation of gender inequalities might be enabled by feminism’s visibility in neoliberalism. Using a framework of critical feminist hope, we highlight that capitalism’s embrace of feminism inarguably limits its political scope, but it may also open up opportunities for new forms of representation. To illustrate this, the paper analyses WWE 24: Women’s Evolution, a “brandcasting” documentary made to mark the rebrand of the sport entertainment promotion’s women’s division in 2016. While never naming it directly, the documentary draws heavily upon the signifiers of popular feminism. Although this mobilisation is often highly limited, a critically hopeful feminist reading allows us to move beyond dismissing this text as an example of feminism’s “co-optation” by neoliberalism. We highlight the documentary’s scathing critique of past failings in the representation and treatment of women performers, and, more importantly, the way feminism is used to make the case for corporate re-structure and change.  相似文献   

19.
This paper focuses on an important aspect of the Showtime television series The L Word: its exploration of the representation of gender and sexuality in contemporary visual art. The program presents a sophisticated feminist perspective on the histories of female and lesbian representation, and it uses the work of particular contemporary artists, who are known for their engagement with questions of female, lesbian, and/or queer representation, to advance its critique of a long history of erasure, misrepresentation, and objectification. Simultaneously, while foregrounding its awareness of the contradictions of trying to create new forms of representation in a thoroughly commercial and commodified context, the program uses works of art to present the possibility of inventing alternative images or of redefining existing ones. The show's consistent attention to innovative art constitutes a formal device that offers a counter-discourse to those conventions of representation required by the show's need to appeal to a broad audience. In this way, The L Word offers attentive viewers new ways to look at and think about apparently familiar images and narratives.  相似文献   

20.
This article examines the production and promotion of A&;E's Rollergirls (2006), a US docu-soap featuring the Texas Roller Derby Lonestar Rollergirls (TXRD), the league that revived roller derby as a sport for female amateurs. Focusing on the representation of TXRD skaters in Rollergirls, as well as A&;E's promotional campaign for the series, this analysis is contextualized in relation to the role of female athleticism in contemporary US commercial culture. Relying on practices long used to trivialize women sports figures, Rollergirls' portrayals of TXRD skaters suggest ambivalence towards female athleticism as well as a desire to contain the gender-bent and sexually agential performances at the heart of women's roller derby. In addition to revealing the challenges television producers face in the representation of female athletes and other nonconformist women, the research offered here hopes to expand feminist television criticism beyond its conventional focus on fictional texts while also broadening feminist studies of sports media, which have centered primarily on news coverage.  相似文献   

设为首页 | 免责声明 | 关于勤云 | 加入收藏

Copyright©北京勤云科技发展有限公司  京ICP备09084417号