Interrogating Postfeminism: Gender and the Politics of Popular Culture
This timely collection brings feminist critique to bear on contemporary postfeminist mass media culture, analyzing phenomena ranging from action films featuring violent heroines to the “girling” of aging women in productions such as the movie Something’s Gotta Give and the British television series 10 Years Younger. Broadly defined, “postfeminism” encompasses a set of assumptions that feminism has accomplished its goals and is now a thing of the past. It presumes that women are unsatisfied with their (taken for granted) legal and social equality and can find fulfillment only through practices of transformation and empowerment. Postfeminism is defined by class, age, and racial exclusions; it is youth-obsessed and white and middle-class by default. Anchored in consumption as a strategy and leisure as a site for the production of the self, postfeminist mass media assumes that the pleasures and lifestyles with which it is associated are somehow universally shared and, perhaps more significantly, universally accessible.
Essays by feminist film, media, and literature scholars based in the United States and United Kingdom provide an array of perspectives on the social and political implications of postfeminism. Examining magazines, mainstream and independent cinema, popular music, and broadcast genres from primetime drama to reality television, contributors consider how postfeminism informs self-fashioning through makeovers and cosmetic surgery, the “metrosexual” male, the “black chick flick,” and more. Interrogating Postfeminism demonstrates not only the viability of, but also the necessity for, a powerful feminist critique of contemporary popular culture.
Contributors. Sarah Banet-Weiser, Steven Cohan, Lisa Coulthard, Anna Feigenbaum, Suzanne Leonard, Angela McRobbie, Diane Negra, Sarah Projansky, Martin Roberts, Hannah E. Sanders, Kimberly Springer, Yvonne Tasker, Sadie Wearing
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1 The limits of the kind of gender equality enacted within contemporary popular media culture are profound: they are marked by the valorization of female achievement within traditionally male working environments and the celebration of ...
As Kathleen Karlyn has observed, neither “the one” of the Matrix cycle (1999, 2003) nor “the king” of the Lord of the Rings trilogy (2001, 2002, 2003) are presented with a trace of irony despite their overblown imagery of white male ...
Some of the most male-identified genres are highly readable in postfeminist terms, and some of the essays in this volume undertake the work of beginning to theorize postfeminist masculinity. Indeed, the shift from women's studies to ...
... straight women can be included in the joke, even as they are discussed in traditional sexist evaluative terms as “hot” by the queer guys or painted as just plain foolish for choosing such unattractive or inattentive male partners.
It makes regular use of gay male identities, as Steven Cohan's discussion of authoritative queerness in lifestyle television in this volume establishes. Indeed, some of the most quintessentially postfeminist genres, such as the wedding ...
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The Magic of Postfeminist Sisterhood
Adultery Boredom and the Working Girl in TwentyFirstCentury American Cinema
Feminisms Postfeminisms and Processes of Punk
Rethinking Feminism and Film Violence
8 Whats Your Flava? Race and Postfeminism in Media Culture
Governing the Self in What Not to Wear
African American Women in Postfeminist and PostCivilRights Popular Culture
Aging in Postfeminist Culture
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