Invisible golden girls? Post-feminist discourses and female ageing bodies in contemporary television fiction

Abstract

The popular television series The Golden Girls (1985–1992) seems to be an exception in the history of the representation of third-age women femininities and bodies in television fiction. This series about four mature women living in the same house in Miami made ageing women visible in television representations. Older women are generally invisible in popular television fiction. Despite this absence, a discourse on ageing and femininities is present in all sorts of popular media texts. We will question post-feminist discourses on ageing bodies and femininities. Are the post-feminist claims regarding ageing bodies present in popular television fiction? Moreover, are these discourses represented by the portrayal of ageing bodies? We will analyse the representations of ageing femininities in television fiction labelled as “post-feminist television fiction.” The series Sex and the City, Desperate Housewives, and Girls will be studied using a textual analysis to look for discourses on ageing female bodies and their particularities in relation to post-feminism. We distinguished a limited set of three sets of discourses (losing femininity, masking of ageing, and the wisdom of ageing) on ageing femininities. Although ageing feminine bodies are absent, a discourse on ageing, “good” ageing, and acceptance of ageing is present in the narration in all three series. The discourse on the masking of ageing, however, is predominant.     

The “smart” body politics of Lena Dunham’s Girls

Since its 2012 debut Girls has received an extraordinary amount of attention and criticism from both academic circles and popular culture critics. It has been critiqued for its depiction of female nudity and its portrayal of female sexual subjecthood. At the center of these debates is how author–star Lena Dunham’s body is positioned and utilized aesthetically and politically. This essay examines the brand of body politics and mode of female sexual subjecthood that the series creates and performs. In order to track how Girls produces this body politics and female sexual subjecthood I position it in relation to earlier feminist television series and indie cinema. This essay argues that Girls’ particular brand of body politics and the mode of female sexual subjecthood it depicts is characterized by emotional intimacy, irony and reflexivity. Furthermore I contend that Girls’ gender politics is enabled by the series’ utilization of a low-key aesthetic and the “smart” tendency, more commonly discussed in relation to American indie cinema.     

“Still Raped Over Here”: Gay Male Femininity and the Rewards of Camp Ambivalence in Richard Day’s Girls Will Be Girls

ABSTRACT

Girls Will Be Girls (GWBG) delivers a substantive queer-feminist critique of heteronormative animus toward women and gay men through jokes that weaponize that animus for insurgent purposes. The film’s rape and abortion jokes showcase the provocative notion that negative representations of femininity might be wielded strategically and, in fact, more resonantly because they resist recuperation by marginalizing normative hierarchies. GBWG’s enactment of gay male femininity deploys queer dissidence by ameliorating pain through mockery while emphasizing the costs of heteronormative and patriarchal inflictions. This essay offers a test case for a queer feminist politics—one that, without discarding the imperatives for and rewards of more materially grounded political work, mines the critical as well as affective affordances of rage, mockery, and indignity against heteronormativity’s arbitrary but still formidable injunctions. A queer feminist reading of camp denaturalizes heteronormativity with a potency that queer theory and feminist theory might harness yet more effectually in less divided collaboration.     

“She Is Not Acting,She Is”

This essay examines the popular television show RuPaul's Drag Race to reveal the ways drag performance provides an ambivalent, contradictory space for wrestling with contentious issues surrounding cultural identity and authenticity in reality TV. Focusing on the show's controversial season three, the authors demonstrate how drag queens subvert and play with ideas of gender “realness” but find an impasse in open discussions of race. The racial minstrelsy of some contestants we observe created antagonisms between black/brown characters and their white/Asian counterparts, exposing a rift in ideas about racial play despite the general acceptance of flexibility in gender bending. Recognizing that reality TV exploits and uncovers these tensions, we demonstrate that while drag performance enacts a subversive mode of queer performance, it provides a contested site and complex semiotic space for dealing with sensitive matters of race/ethnicity, especially when certain forms of stereotyping are rewarded over others.     

Queer Relationality as Family: Yas Fats! Yas Femmes! Yas Asians!

ABSTRACT

In this essay, we, as queer subjects, share our embodied experiences to rearticulate and reimagine possible and impossible performances of queer relationality as family. We collaboratively pay careful and nuanced attention to our queer performative roles of becoming and being femmes as referring points of this critical queer engagement. To do so, we adapt methodological implications of autoethnography and intersectional reflexivity. Thereby, we take further steps to explore an anti-anti-relational landscape of queerness that works on and against hegemonic, heteronormative, and homonormative paradigms of relating.     

Playing With Time: Gay Intergenerational Performance Work and the Productive Possibilities of Queer Temporalities

This article examines the tendencies of LGBT intergenerational theater projects. By engaging with ideas of queer time, temporal drag, and the pervasive heteronormative imagery of heritability and inheritance, this article explores the possibility that LGBT intergenerational projects may generate some of the problems they aim to challenge. Through the lens of queer time, the article describes the normativity generated in LGBT intergenerational theater projects as a form of restrictive interpellation. The article explores the temporal complexities at play in such theater productions as The Front Room, a specific LGBT intergenerational theater project performed in the United Kingdom in 2011. The article concludes by noting some ways in which intergenerational theater projects might seek to work through the embodiment of the historical quotidian as a mode of resistance to normativity’s recirculation.     

Queering Ethnicity in the First Gay Films From Ex-Yugoslavia

Between 2002 and 2005 four of the Yugoslav successor states produced major feature films with lesbian or gay protagonists: Maja Weiss's Guardian of the Frontier (Slovenia, 2002), Dalibor Matani?'s Fine Dead Girls (Croatia, 2002), Dragan Marinkovi?'s Take a Deep Breath (Serbia, 2004), and Ahmed Imamovi?'s Go West (Bosnia and Hercegovina, 2005). As with other films from Eastern Europe that portray queer characters, all of these films were shot by straight directors, and the queer characters are not representations of real local queer communities, but instead are used as metaphors to address topics the filmmakers find more important, such as ethnicity and national identity. The ethnic hatreds that fueled the wars of the 1990s were mobilized through the heterosexual matrix. In these films anxieties about ethnicity are worked out through plots involving queer sexuality, though they work differently for male and female couples: female bodies can be conventionally objectified by the heterosexual male gaze, while male couples become the focus for anxieties about male rape.     

“L” is for Looking Again

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.     

Shifting Ground(s): Surveying the contested terrain of LGBT studies and queer theory

While queer theory initially grew out of lesbian, gay, bisexual, and transgender (LGBT) studies, there are numerous points of contestation between these two approaches, originating mostly from their disparate positions on (sexual) identity politics. To describe, analyze, and contextualize this contested terrain, we begin this piece by providing some historical notes on LGBT studies and queer theory. Next, we turn to an explication of some enduring tensions to identify the criticisms generated by LGBT scholars toward queer theory approaches and vice versa. What follows is our rationale for producing LGBT Studies and Queer Theory: New Conflicts, Collaborations, and Contested Terrain. In this section we discuss how this project originated and the specific objectives we hope this volume will meet. The contributions of the individual articles in this volume are identified and summarized next. Finally, in the context of LGBT studies' and queer theory's similar qualities and points of difference, we offer ideas for potential directions of scholarship in the future that would explore three major areas: identity and difference; community and community organizing; and political engagement and social change.     

Broadening the scope of ageing femininities on TV: the evolution of the older woman in two contemporary Catalan soap operas

The older woman has been an unacknowledged character in fiction up until recently, when it has become the focus of some studies in the interconnected fields of literary and cultural gerontology. Given their popularity, TV shows are especially powerful in the propagation of images of any form of identity; accordingly, they can be regarded as an interesting and highly effective artistic and socio cultural vehicle through which representations of old people and of old women in particular can be analysed and discussed. Despite the success of The Golden Girls in the 80s and the exponential ageing of the baby-boom generation, TV series have also continued to depict older female characters as either motherly figures, always looking after their families at any cost, or as devilish older women characterised by inappropriate sexualised appearance and sexual behaviour. In contrast to this predominant tendency, Six Feet Under (2001–2005) stands out as a significant exception. In this article, we argue that Six Feet Under is innovative in presenting the older woman through the central character of Ruth Fisher (Francis Connor) and through the interaction of Ruth Fisher with other women within her same generation which face ageing from different perspectives.     

Getting Disciplined: What’s Trans* About Queer Studies Now?

ABSTRACT

This essay maps the epistemological terrain trans* studies may face as it is widely incorporated into queer studies programs, often housed within women’s studies departments. Over the past two decades, queer studies and women’s studies have rapidly professionalized, producing new modes of disciplinary power that may seek to either include or cite trans* studies, often without fully welcoming its specific material and political investments. Under such conditions, trans* studies may find itself heard largely as a but—an epistemic blockage, a distraction from proper objects, a hindrance to customary methods—that must be disciplined.     

Having it both ways: Two and a Half Men,Entourage, and televising post-feminist masculinity

This article explores representations of juvenile post-feminist masculinity across two television texts: Two and a Half Men and Entourage. These programs exhibit a contradictory continuum of masculine performances allowing men to “have it both ways,” or to be both sensitive and casually sexist within contemporary culture. By detailing how similar kinds of masculinity exist across two seemingly disparate channels and television programs, this analysis also decouples automatic assumptions about representation as being primarily linked to notions of “quality” or “complex” TV emerging from cable and pay cable channels, and instead demonstrates the importance of looking for representational similarities as much as differences and distinctions across channels in order to fully understand the relational shifts between constructions of masculinity and post-feminist illogics.     

Questioning the Self

After accession to the World Trade Organization in 1999, China has been further incorporated into the global track. The national policy of economic development requires a continuing exploitation of natural resources and intensive labor from the rural sector, and over the last few decades there has been a ceaseless wave of rural women going to the cities and working mainly as assembly-line workers, domestic helpers, and sex workers. Developing a subaltern and feminist perspective, this paper attempts to invoke a spectral figure of the subaltern as the rural woman demonstrably haunting dominant regimes of representations of modernization. Through a textual analysis of the television series Girls from Outside (1991 Girls From Outside (television series) (1991) Production Centre of TV Series of Guangzhou Television Station, China [Google Scholar]), this paper examines how a rural woman peasant worker is represented as a model of the imperative to “develop the self” as a marker of social upward mobility, in the dominant discourse of development. Yet, this paper also reads against the grain of the texts, in which there are contradictions and ambivalences in portraying a rural woman as an actor of modernization. The self here is haunted by the other, as exemplified by rural kinship, a strike, and the women “left-over” in the job market.     

Career Girls

Television representations of the British postwar working woman have been afforded little consideration in British historical television scholarship. In its exploration of two early 1960s female ensemble television series set in the workplace, Compact (1962–1965) and The Rag Trade (1961–1963), this article makes a significant feminist intervention in the reinstatement of this neglected figure into extant critical television histories. It also demonstrates that implicit media discourses around women balancing work and home life customarily situated in the latter part of the twentieth century were already in circulation in the early 1960s.     

“I Caught It at the Movies”: Reflections on Medical History,Movie Theaters,and the Cinema of Contagion

ABSTRACT

Undertaking an examination of the precarious places of the movies and movie theaters in queer lives in the 20th century, this article takes up a series of anecdotal episodes and feature-length films to consider how the space-related stakes of LGBT health have been best understood in literal cinema houses and the narrative cinema projections inside of them. The author argues for an appreciation of LGBT-themed motion pictures as oscillating between perpetuator of queer pathology and its potential solution.     

Mapping Queer Bioethics: Space,Place, and Locality

ABSTRACT

This article, which introduces the special issue of the Journal of Homosexuality on “Mapping Queer Bioethics,” begins by offering an overview of the analytical scope of the issue. Specifically, the first half of this essay raises critical questions central to the concept of a space-related queer bioethics, such as: How do we appreciate and understand the special needs of queer parties given the constraints of location, space, and geography? The second half of this article describes each feature article in the issue, as well as the subsequent special sections on the ethics of reading literal, health-related maps (“Cartographies”) and scrutinizing the history of this journal as concerns LGBT health (“Mapping the Journal of Homosexuality”).     

The cross-gender performances of Yam Kim-Fei, or the queer factor in postwar Hong Kong Cantonese opera/opera films

This essay is designed as a brief historical examination of the Cantonese female cross-dressing star Yam Kim-Fei, whose hundreds of films and opera performances in the '50s and '60s have made her one of the century's most celebrated transvestite artists. While her craft has often been relegated to studies of gender alone, I assert that the traditions of Chinese operatic transvestism she employs are not merely a relativist historical-artistic mode without political relevance but can be justifiably reclaimed for the purposes of queer interpretation and spectatorship-for indeed their original intent coincides very well with what we call "queer" today.     

Flexible Queers,Serious Bodies: Transgender Inclusion in Queer Spaces

Queer spaces are significant for understanding transgender inclusion as “queer spaces were places where individuals were expected to be attentive to or aware of alternative possibilities for being, including non-normative formulations of bodies, genders, desires and practices” (Nash, 2011 Nash, C. J. 2011. Trans experiences in lesbian and queer space. Canadian Geographer/Le Géographe Canadien, 55: 192–207. [Crossref], [Web of Science ®] , [Google Scholar], p. 203). Indeed, in this interview study of members of a queer leather group called the Club, members described a flexible “sexual landscape” that easily includes transgender members. However, these same queer spaces have been criticized for the way they regulate queer bodies and organize queer subjectivities. In this study, queer members of the Club also contrasted playful queer flexibility with serious transgender bodies. This article argues that, although there is a reiterative relation between transgender inclusion and queer spaces, the idealization of flexibility within queer spaces can also serve to marginalize and regulate transgender bodies.     

Between a Rock and a Slippery Slope: Negotiating the Intersections of Religion and Sexuality on Network Television's The Book of Daniel

This article analyzes the television series The Book of Daniel, a program that shows in full relief the ways that current discourses of religion and sexuality converge to produce a particular type of gay subject. This subject, primarily male, might be understood as bound through an innate identity and commitment to the sanctity and reproduction of heteronormative institutions such as the church and state, which renders him assimilable into the social order. As homosexuality, per se, is no longer “outside” the normative order, the program constructs an unstable, nonbinary, and nonheteronormative other who is best understood as queer.