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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In fact , the film suggests that Carolyn has sex with Buddy , a vile narcissist , for the basest of motives , namely , to further her own career . Carolyn's female worker is thus an amalgam of bourgeois pretension whose monstrosity is ...
This threat is realized , in fact , during the film's diegesis ; by its end , one of Justine's coworkers , Gwen , and her lover , Holden , are both dead.48 The implications of The Good Girl's death scenario are thus decisively linked to ...
The fact that Emma Bovary's modern - day counterparts find that work and marriage traffic in similar forms of stagnation suggests that the adultery narrative continues to offer a convenient and powerful paradigm for problematizing ...
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The Magic of Postfeminist
Adultery Boredom and the Working Girl
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