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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... assume , or naturalize aspects of feminism ; crucially , it also works to commodify feminism via the figure of woman as empowered consumer . Thus , postfeminist culture emphasizes educational and professional opportunities for women ...
In this anthology , Suzanne Leonard explores the ramifications of class on gendered representation in the United States , taking up the figure of the " bored woman worker " in such films as The Good Girl ( 2002 ) .
diverse feminist politics ( one that addresses class and race as emphatically as it does gender and generation ) in response to a postfeminist culture exemplified by the figure of the white , middle - class , heterosexual woman .
Moreover , in this volume the essays by Sarah Banet - Weiser , Anna Feigenbaum , Sarah Projansky , and Hannah E. Sanders all discuss the figure of the " girl " and " girl power " in relation to postfemia nism ...
In this context , it is also appropriate to consider the figure of the active or action heroine , an emblematic and problematic icon of female empowerment within postfeminist culture . As much as feminist criticism has had an ambivalent ...