Interrogating Postfeminism: Gender and the Politics of Popular Culture
Yvonne Tasker, Diane Negra
Duke University Press, 2007 M11 2 - 344 pages
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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... Kill Bill , volumes 1 and 2 ( Tarantino , 2003 and 2004 ) , all feature women engaged in violent action as a central part of their stories and structures . Of these films , Quentin Tarantino's Kill Bill ( for ease of discussion and ...
... Kill Bill's regressive politics : " You've come a long way baby . Now kill someone . " 2 With violence as the new smoking , this clever phrasing adapts a 1970s cigarette advertisement to the ultraviolence of Tarantino's ... Killing Bill 155.
... Kill Bill . As is the case in most revenge films , the avenger in Kill Bill is the ethical center of the universe created - there is no law , no outside world against which these violent actions are framed — and , perhaps more important ...
The Magic of Postfeminist
Adultery Boredom and the Working Girl
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