By Yvonne Tasker, Diane Negra
This well timed assortment brings feminist critique to undergo on modern postfeminist mass media tradition, reading phenomena starting from motion motion pictures that includes violent heroines to the “girling” of getting older girls in productions corresponding to the motion picture Something’s Gotta provide and the British tv sequence 10 Years more youthful. largely outlined, “postfeminism” contains a set of assumptions that feminism has entire its targets and is now something of the prior. It presumes that ladies are unhappy with their (taken without any consideration) felony and social equality and will locate success merely via practices of transformation and empowerment. Postfeminism is outlined by way of type, age, and racial exclusions; it's youth-obsessed and white and middle-class by means of default. Anchored in intake as a method and relaxation as a website for the construction of the self, postfeminist mass media assumes that the pleasures and existence with which it's linked are someway universally shared and, possibly extra considerably, universally accessible.
Essays via feminist movie, media, and literature students established within the usa and uk offer an array of views at the social and political implications of postfeminism. interpreting magazines, mainstream and self sustaining cinema, well known track, and broadcast genres from primetime drama to truth tv, individuals examine how postfeminism informs self-fashioning via makeovers and plastic surgery, the “metrosexual” male, the “black chick flick,” and extra. Interrogating Postfeminism demonstrates not just the viability of, but in addition the need for, a robust feminist critique of latest renowned 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 donning
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Extra info for Interrogating Postfeminism: Gender and the Politics of Popular Culture
1 The backlash for Susan Faludi was a concerted, conservative response to the achievements of feminism. My argument is that postfeminism positively draws on and invokes feminism as that which can be taken into account, to suggest that equality is achieved, in order to install a whole repertoire of new meanings, which emphasize that it is no longer needed, that it is a spent force. 2 For my purposes here, postfeminism permits the close examination of a number of intersecting but also conflicting currents.
The magazines even seemed to have absorbed a sprinkling of feminist ideas, especially on the problem pages. S. ”15 Finally, emphasizing the issue of commodification, Durham suggests that following early 1990s feminist scholarship, which defined “girls’ adolescence as a time of crisis, . . ”16 Implicitly the “new girl hero” could function as a solution to the presumed crisis of girls’ adolescence but still function as a commodified figure marketed to the commodified girl audience and in turn marketed to advertisers.
He reads the Summers scandal as the explosion of “a protracted build up of exasperation over the persistent under-representation of women in positions of prominence and authority, and the mulish inability of powerful men to recognize the scope of the problem, or their tendency to rationalize it with voodoo genetics and Victorian-parlor sociology” (“Caution,” 67). Readings and Schaber, “Introduction,” 6. McRobbie, “Post-feminism and Popular Culture,” 259. Frank, One Market under God, 68. Postrel, The Substance of Style, 10.