Journal articles: 'Feminist visual culture'

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Board, Marilynn Lincoln, Fiona Carson, and Claire Pajaczkowska. "Feminist Visual Culture." Woman's Art Journal 24, no. 2 (2003): 39. http://dx.doi.org/10.2307/1358787.

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McDowell, Kelly. "Book Review: Feminist Visual Culture." Journal of Visual Culture 1, no. 2 (August 2002): 261–64. http://dx.doi.org/10.1177/147041290200100208.

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D'Enbeau, Suzy. "Feminine and Feminist Transformation in Popular Culture." Feminist Media Studies 9, no. 1 (March 2009): 17–36. http://dx.doi.org/10.1080/14680770802619474.

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Doyle, Jennifer, and Amelia Jones. "Introduction: New Feminist Theories of Visual Culture." Signs: Journal of Women in Culture and Society 31, no. 3 (March 2006): 607–15. http://dx.doi.org/10.1086/499288.

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Cvetkovich, Ann. "HISTORIES OF MASS CULTURE: FROM LITERARY TO VISUAL CULTURE." Victorian Literature and Culture 27, no. 2 (September 1999): 495–99. http://dx.doi.org/10.1017/s1060150399272129.

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VICTORIAN STUDIES has always been, for me, a form of cultural studies. As early as my sophomore year in college, while reading Raymond Williams’s Culture and Society for a modern humanities course, I was fascinated to learn that a case could be made for the nineteenth century as the period during which notions of culture were constructed. Williams’s work was presented without much contextualization and it was only much later that I came to associate it with either British cultural studies or Marxism. My somewhat unconscious interest in forging connections between culture and politics, which I would argue is the founding mission of cultural studies, was matched by another unconscious interest in Victorian studies, and more specifically, studies of the novel, as a field in which to pursue feminism. By the time I reached graduate school in the 1980s, feminism had become a field and a methodology, and within English departments, Victorian studies produced a rich range of scholars, including Elaine Showalter, Ellen Moers, Sandra Gilbert and Susan Gubar, and Nina Auerbach, who dominated the interdisciplinary field of women studies, which, like cultural studies, also sought to explain the relations between culture and politics. Their work on women authors and revising the canon was followed by that of an equally powerful group of feminist Victorianists, including Nancy Armstrong, Mary Poovey, Catherine Gallagher, and Eve Sedgwick, who explored not only how categories of gender and sexuality were integral to nineteenth-century social formations, but how they were invented in the modern period.

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Bleeke, Marian. "Feminist Approaches to Medieval Visual Culture: An Introduction." Medieval Feminist Forum 44, no. 2 (December 2008): 49–52. http://dx.doi.org/10.17077/1536-8742.1743.

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McHugh, Kathleen. "Prolegomenon." Film Quarterly 75, no. 1 (2021): 10–22. http://dx.doi.org/10.1525/fq.2021.75.1.10.

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Kathleen McHugh explores the complex functions of women’s anger in the work and aesthetic circuitry—culture, texts, audience, reviewers—of contemporary feminist filmmakers. For all its ubiquity as a feminist feeling, anger has been little considered critically. While 1970s white theorists of feminine/feminist film aesthetics did not mention anger, feminist lesbian, materialist, and women-of-color critics lamented its absence. Julie Dash’s 1982 Illusions inaugurated an aesthetics of anger from a Black feminist perspective that exemplified the ideas in Audre Lorde’s foundational 1981 essay, “The Uses of Anger.” Drawing from Lorde’s and Sara Ahmed’s ideas about the creative value of feminist anger, together with recent affect theory on “reparative reading” and “better stories,” the essay explores four contemporary directors’ films and media works for how anger shapes their texts and critical reception and cultivates a mode of affective witness in their audiences.

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Luzar, Laura Christina, and Monica Monica. "Penerapan Cultural Studies dan Aliran Filsafat dalam Desain Komunikasi Visual." Humaniora 5, no. 2 (October 30, 2014): 1295. http://dx.doi.org/10.21512/humaniora.v5i2.3272.

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Cultural studies is a diversity knowledge from different variety of perspectives, through the production of theory trying to intervene in political culture. Cultural studies explores culture as a practice purport in the context of social force. In this case, cultural studies is not only based on one point only, but also cultural studies tries to compose a variety of theoretical studies of other disciplines developed wider, so that covers a wide range of academic theories that already existed, including Marxism, Structuralism, Post-structuralism, and feminism. By eclectic method, cultural studies puts the positioning to all knowledges, including on its knowledge which integrates with culture, practice of signification, representation, discourse, authority, articulation, text, read, and consumption. Cultural studies could be described as a language game or formation of discourse associated with relation to power in signification practice of human life. In addition to cultural studies, there is also feminism theory participated in the concept of feminist cultural studies that reconstructs and transforms view of misperception between feminism and cultural studies. Feminism affects cultural studies, but not all feminism can be viewed as cultural studies, and not all cultural studies talks about gender. Both of cultural studies and feminism have substantive importance in relation to power, representation, pop-culture, subjectivity, identity and consumption. The theory of social construction is also has connectivity with cultural studies. Construction of reality is inseparable from mark, symbol, and language. Media are full of reality constructed for people to affect people as ethics persuasion in media do.

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Morris, Catherine. "‘Unremarkable, Forgotten, Cast Adrift’: Feminist Revolutions in Irish Visual Culture." Review of Irish Studies in Europe 2, no. 2 (October 24, 2018): 70–88. http://dx.doi.org/10.32803/rise.v2i2.1888.

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This creative essay examines how visual culture and Alice Milligan’s re-animation of the Tableaux as a radical form of theatre practice operated as a link between ideas of national culture and revolutionary feminism in Ireland. But the tableaux had other elective affinities too. Theatre, photography and the magic lantern were the most immediately obvious of these; but cinema and art installation are by now also recognizably among them. The moving cinematic image is in fact a series of still pictures which give the effect of movement. As silent films became more popular in Ireland in the early years of the twentieth century they were called ‘living pictures’, the name also used to describe tableaux. But even in the era of the early silent film, directors often suspended action to jolt the viewer into another interpretative realm. We see this in Griffith’s 1909 film A Corner in Wheat — where a shot of a bread queue looks like the film has stopped. Early photography was vital to Alice Milligan’s practice: she raised funds for the first magic lantern for the Gaelic League (first used in Donegal); travelled the country taking photographs of people and sites; projected glass slides as part of community tableaux shows; and Maud Gonne’s early play Dawn uses 3 of her tableaux. During the 1897 royal visit to Dublin, James Connolly, Milligan and Maud Gonne used a magic lantern to project onto Dublin’s city walls photographs of famine that they had witnessed in the west of Ireland.

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Tycer, Alicia. "Feminist Views on the English Stage: Women Playwrights, 1990–2000. By Elaine Aston. Cambridge: Cambridge University Press, 2003; pp. 238. $75 cloth." Theatre Survey 46, no. 1 (May 2005): 153–55. http://dx.doi.org/10.1017/s0040557405330092.

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Elaine Aston begins Feminist Views on the English Stage by pondering why, given the optimism for English feminist theatre at the close of the 1980s, the 1990s saw a diminishing interest in women's voices. She asks, “If ‘masculinity and its discontents’ culturally and theatrically moved centre stage in the 1990s, what happened to women and to feminism?”(5) In order to counteract the prevailing view of the 1990s as a decade dominated by the overarching theme of “masculinity in crisis,” she focuses her book on women playwrights. Aston detects a theatrical backlash against the partial advances made by women playwrights during the 1980s, mirroring a backlash against feminism within popular culture in general. In contrast to the “shock fests” of the reemergent “angry young men,” who have often been charged with nihilism, she argues that the works she examines remain politically engaged. Aston explains that Feminist Views is motivated by her desire to prevent women playwrights from being “written out” of the theatrical record.

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Zheng, Wang. "Creating a Socialist Feminist Cultural Front: Women of China (1949–1966)." China Quarterly 204 (December 2010): 827–49. http://dx.doi.org/10.1017/s0305741010000986.

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AbstractThis article is a study of socialist feminist cultural practices in the early PRC. It investigates stories behind the scenes and treats the All-China Women's Federation's official journal Women of China as a site of feminist contention to reveal gender conflicts within the Party, diverse visions of socialist transformation, and state feminist strategies in the pursuit of women's liberation. A close examination of discrepancies between the covers and contents of the magazine explicates multiple meanings in establishing a socialist feminist visual culture that attempted to disrupt gender and class hierarchies. Special attention to state feminists' identification with and divergence from the Party's agenda illuminates a unique historical process in which a gendered democracy was enacted in the creation of a feminist cultural front when the Party was consolidating its centralizing power. The article demonstrates a prominent “gender line” in the socialist state that has been neglected in much of the scholarship on the Mao era.

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Farrimond, Katherine. "‘Being a horror fan and being a feminist are often a conflicting business’: Feminist horror, the opinion economy and Teeth’s gendered audiences." Horror Studies 11, no. 2 (October 1, 2020): 149–68. http://dx.doi.org/10.1386/host_00016_1.

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Horror has long been understood as a ‘bad object’ in relation to its audiences. More specifically, this presumed relationship is a gendered one, so that men are positioned as the genre’s natural audience, while women’s engagement with horror is presented as more fractious. However, those horror films framed as feminist require a reorientation of these relations. This article foregrounds the critical reception of a ‘conspicuously feminist’ horror film in order to explore what happens to the bad object of horror within an opinion economy that works to diagnose the feminism or its absence in popular culture. Reviews of Teeth (2007), a ‘feminist horror film’ about vagina dentata, illustrate the push and pull of gendered power attached to feminist media, where empowerment is often understood in binary terms in relation to its gendered audiences. The assumed disempowerment of male audiences takes precedence in many reviews, while other narratives emerge in which Teeth becomes an educational tool that might change gendered behaviours, which directly empowers female audiences or which dupes women into believing they have been empowered. Finally, Teeth’s reviews expose a language of desire and fantasy around vagina dentata as an automated solution to the embodied experiences of women in contemporary culture. Teeth’s reviews, I argue, offer a valuable case study for interrogating the tensions in discourse when the bad object of horror is put to work for feminism.

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Lauter, Estella. "Re-enfranchising Art: Feminist Interventions in the Theory of Art." Hypatia 5, no. 2 (1990): 91–106. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00419.x.

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Feminist analyses of the roles gender has played in art lead to an alternative theory that emphasizes art's complex interactions with culture(s) rather than the autonomy within culture claimed for it by formalism. Focusing on the visual arts, 1 extrapolate the new theory from feminist research and compare it with formalist precepts. Sharing Arthur Danto's concern that art has been disenfranchised in the twentieth century by its preoccupation with theory, I claim that feminist thought re'enfranchises art by revisioning its relationship to its contexts.

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Shoos, Diane. "The Female Subject of Popular Culture." Hypatia 7, no. 2 (1992): 215–26. http://dx.doi.org/10.1111/j.1527-2001.1992.tb00895.x.

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This essay discusses the place of popular culture, especially visual representation, in theories of female subjectivity and examines two recent works on women and popular culture as representative of two primary critical and methodological approaches to the female subject. The essay considers the limitations and implications of both qualitative communication research and text-based feminist criticism and the need to construct a dialogue between them.

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Dressler, Rachel. "Continuing the Discourse: Feminist Scholarship and the Study of Medieval Visual Culture." Medieval Feminist Forum 43, no. 1 (June 2007): 15–34. http://dx.doi.org/10.17077/1536-8742.1022.

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Villacampa-Morales, Ester, Maddalena Fedele, and Sue Aran-Ramspott. "YouTubers between postfeminism and popular feminism: Dulceida’s and Yellow Mellow’s construction and performance of gender identity." Revista Mediterránea de Comunicación 12, no. 2 (July 1, 2021): 117. http://dx.doi.org/10.14198/medcom.19602.

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Participatory culture (Jenkins, 2006) has opened up the possibility of prosumption for the youngest users, who use social media as a tool for building their (gender) identities. At the same time, as part of a juvenile digital culture they share with their audiences, influencers, and more specifically YouTubers, they act as role models in this process. While YouTube and other social media continue to reproduce the post-feminist sensibility, recent studies indicate that it also embraces manifestations of popular feminism. This research focuses on two popular female Spanish YouTubers, Dulceida and Yellow Mellow, and its aim is to analyse how they build and represent their gender identity. Particular emphasis is put on the negotiation and/or integration of feminist precepts into those identities, in order to determine whether they contribute to the creation of new gender imaginaries. A qualitative methodology, which includes four models of analysis, is used to cover the representations from the audio-visual, socio-semiotic and textual aspects. The results show a certain ambivalence regarding gender, since popular feminism and queer theory coexist with postfeminism, and values such as diversity with the acritical acceptance of individualism.

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Pena, Mary. "Black Public Art: On the Socially Engaged Work of Black Women Artist-Activists." Open Cultural Studies 3, no. 1 (January 1, 2019): 604–14. http://dx.doi.org/10.1515/culture-2019-0053.

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Abstract Inaugurated at the Brooklyn Museum of New York in 2017, the path-breaking exhibition “We Wanted a Revolution: Black Radical Women, 1965-85,” centers the creative expressions and lived experiences of black women artists within a primarily white, middle-class, heteronormative mainstream feminist movement. Engaging visual mediums, artist-activists rendered a black feminist politics through cultural and aesthetic productions. In so doing, artists recast extant representations of black social life, demanded inclusion within cultural institutions, and created black-oriented spaces for artistic engagement. In the contemporary global political climate of anti-blackness, artists craft socially engaged practices that creatively intervene in public space and the cultural institutional landscape. Through a critical analysis of Carrie Mae Weems’ Operation: Activate, Simone Leigh’s The Waiting Room, and LaToya Ruby Frazier’s Flint is Family, this essay concerns recent interventions that mobilize an expansive approach to art combined with activism. The myriad practices of Weems, Leigh, and Frazier recompose sites of political engagement and empowerment that enact a broader praxis of reimagining social worlds. These projects belie the representational fixity on which art economies hinge, gesturing to material formations that elicit tactile modes of relation, and challenge the bounds of subjects and objects in the world.

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Christensen, Ann C., Valerie Traub, M. Lindsay Kaplan, and Dympna Callaghan. "Feminist Readings of Early Modern Culture: Emerging Subjects." Shakespeare Quarterly 49, no. 2 (1998): 236. http://dx.doi.org/10.2307/2902316.

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West, Caroline. "The Lean In Collection: Women, Work, and the Will to Represent." Open Cultural Studies 2, no. 1 (November 1, 2018): 430–39. http://dx.doi.org/10.1515/culture-2018-0039.

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Abstract In February 2014, Getty Images, the largest international stock photography agency, and LeanIn. org, Facebook COO Sheryl Sandberg’s women’s empowerment foundation, announced a new partnership that aimed to change the way women are portrayed in stock photography. The “Lean In Collection” with Getty seeks to challenge visual gendered stereotypes ascribed to both sexes in the daily life of work, home, and family life in advertising imagery. While the overarching ambition of gender empowerment implicit in the mission of Lean In is a worthwhile goal, I look to the problematic relationship rooted in the partnership between Lean In’s gender empowerment initiative and the role of Getty Images in trafficking aesthetic stereotypes for profit. Using methods of visual analysis and feminist critique, I argue that the photographs idealise a concept of female empowerment that is steeped in the rationale of neoliberal economics, which narrowly circumscribes gender citizenship according to the mandates of market logic. The Lean In Collection describes gender equality not as a right of citizenship procured by the state, but as a depoliticised and individualised negotiation.

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Choi, Shine. "Redressing international problems: North Korean nuclear politics." Review of International Studies 46, no. 3 (January 14, 2020): 337–49. http://dx.doi.org/10.1017/s0260210519000470.

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AbstractMarysia Zalewski's Feminist International Relations: Exquisite Corpse on feminism and global politics directly addresses matters of style, that is, questions of language and representation that foreground the invisible yet so palpable aspect of how meanings circulate. This article puts Zalewski's work in conversation with Trinh Minh-ha's D-Passage: The Digital Way and Lynda Barry's What It Is that similarly push the limits of how we craft feminist arguments. These feminists show how styles of writing and thinking, and how ideas gain shape to circulate matter in academic sites of knowledge as much as in art and culture. Building on these works, I put forward the thesis: to theorise is to feel out boundaries and question the questions we encounter that perennially relegate women as taint and malaise. I further explore this thesis by highlighting the visual dimensions of writing and thinking, in particular, what drawing, and drawing lines that shape ideas do. I focus on caricatures from the currently evolving North Korean nuclear crisis to loosen up the ways we go about thinking about war and politics wherein thinking is recognised not so much as a craft to be perfected but a democratic form of being in the world.

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Hall, Kim F. "Uses for a Dead White Male: Shakespeare, Feminism, and Diversity." New Theatre Quarterly 11, no. 41 (February 1995): 55–61. http://dx.doi.org/10.1017/s0266464x00008873.

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This article and the two following were prepared as complementary contributions to a panel of the American Association for Higher Education conference on ‘Theatre and Cultural Pluralism’, held in Atlanta, Georgia, in August 1992. In the first, Kim F. Hall, from the Department of English at Georgetown University, Washington, DC, describes her experiences as an African American feminist teaching Shakespeare – often against the expectations of students who expect either an affirmation of his supposed universality, a simplistic condemnation of his politically incorrect positions on race and gender – or his appropriation, on behalf of those wishing to stake their own claim to the ‘culture of power’ he is taken to represent. Instead, Kim F. Hall proposes that feminism offers ‘one way of helping students look at Shakespeare ‘multiculturally’, since gender is one area of inquiry that both crosses cultures and forces one to think about the differences between cultures’.

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Shevchenko, Zoia. "THE DESTINY OF SUBJECTIVITY IN THE PHILOSOPHY OF POSTFEMINISM." Politology bulletin, no. 85 (2020): 55–65. http://dx.doi.org/10.17721/2415-881x.2020.85.55-65.

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The article examines the relationship between the development of feminist ideas in the positioning of the subject in feminist theory (Simone de Beauvoir) and postfeminism (Judith Butler) in a dynamic relationship with social practices of modern society, their impact on public attitudes and on observance of equality between its representatives according to the different identities they could take: not only gender, but also racial, age, economic, political, etc. Philosophy of postmodernism is the theoretical basis of this research. This means the non-logocentric, non-fallocentric and non-textocentric research intentions. Fallocentric world is the world designed from a men perspective. Feminist theorists — such as Simone de Beauvoir — try to argue that fallocentric world is just a worldview construction, but not the world as it is in real. So feminist theorists construct their own feminist world — designed from femine perspective. However postmodern methodology denies any absolute centre and centrism. So, postfeminism rejects feminist project of just female history, just female culture, just female world. The world is the one, and it has both dimensions — male and female. Therefore feminism matters to the men too, not only the women. Logocentric methods should be supplemented with methods focused on emotional dimension of human life. Textocentric methods should be supplemented with methods focused on images and their presentations. Non-centric methodology is proper and adequate approach to the rhizome structure of the postfeminist field of inquiry. There are practical and theoretical planes that characterize the current situation of feminism: from declarative denial of classic feminism principles in real life to the further development of emancipatory ideas in academic studies. It is emphasized that existing discrimination on the basis of gender or other grounds is often supported not only by members of dominant groups, but also by people who are the object of oppression or violence. The defining role of the media in the formation of a policy of tolerance / intolerance to gender identities is noted. The characteristics of the representation of male and female visual images inherent in both patriarchal culture and the world of modern media are highlighted.

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Sheeler, Kristina Horn. "Visual Fragments and the Politics of Place: Feminist Advocacy in Czech Public Culture." Women's Studies in Communication 38, no. 3 (July 3, 2015): 295–313. http://dx.doi.org/10.1080/07491409.2015.1062837.

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Matynia, Elzbieta. "Feminist Art and Democratic Culture: Debates on the New Poland." PAJ: A Journal of Performance and Art 27, no. 1 (January 2005): 1–20. http://dx.doi.org/10.1162/1520281052864024.

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Visini, Débora Machado. "A rua é nossa: as intervenções urbanas do coletivo lesbiano Velcro Choque (Brasil) e as subjetividades libertárias." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 2 (November 10, 2020): 68–106. http://dx.doi.org/10.22456/2596-0911.104571.

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O presente artigo investiga as intervenções urbanas – pertencentes a um grupo composto por muitas manifestações artísticas realizadas no espaço público – que dialogam com a cidade. Compreendidas como práticas artísticas e socioespaciais, as intervenções urbanas do coletivo lesbiano Velcro Choque (Brasil) são analisadas a partir das potências que surgem com a ocupação das ruas da cidade e da esfera pública, já que tal ato coloca em cheque normas e narrativas históricas, que serão apontadas a partir do viés da crítica feminista da cultura. Conforme mostra a prática do coletivo, o artivismo associado aos feminismos e às dissidências sexuais e de gênero podem oportunizar a criação de subjetividades libertárias e formas de existência e resistência através das produções coletivas nas artes visuais.Palavras-chave: Cidade. Intervenção Urbana. Feminismos. Artivismo. AbstractThis paper investigates urban interventions – belonging to a group composed of many artistic manifestations carried out in the public space – that dialogue with the city. Understanding the urban interventions as an artistic and socio-spatial practice, the production of the lesbian collective Velcro Choque (Brazil) will be analyzed based on the potency that emerges with the occupation of the streets and the public sphere, since this act can put in check historical norms and narratives, which will be pointed out from the bias of the feminist critic of the culture. As the practice of the collective shows, artivism associated with feminism, sexual and gender dissidences can create opportunities for the creation of libertarian subjectivities and forms of existence and resistance through collective productions in the visual arts.Keywords: City. Urban Interventions. Feminisms. Artivism.

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Kromm, Jane. "Visual Culture and Scopic Custom in Jane Eyre and Villette." Victorian Literature and Culture 26, no. 2 (1998): 369–94. http://dx.doi.org/10.1017/s1060150300002461.

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Art making and art viewing activities steeped in assumptions about gender recur throughout Jane Eyre and Villette. This paper will argue that Charlotte Bronte developed these fine arts devices as part of a carefully crafted feminist critique of spectatorship and representation. Bronte pursued this end by demonstrating that incidents relating to the production and reception of visual culture were relevant for visual experience more broadly understood by linking these events in the narrative to “scopic custom”; that is, the art experiences of Bronte's characters are presented as occurring in relation to the customary, gendered patterns of looking and being looked at which dominated Victorian society. This strategic interweaving of visual culture with scopic custom allows Bronte to accentuate their interdependence as a socio-cultural dynamic of critical significance, and to illuminate their share in the cultural and social constraints affecting women as producers and objects of representation.

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Amankevičiūtė, Simona. "Cognitive Approach to the Stereotypical Placement of Women in Visual Advertising Space." Respectus Philologicus 24, no. 29 (October 25, 2013): 108–20. http://dx.doi.org/10.15388/respectus.2013.24.29.9.

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This article conceptualizes the image of women in the sexist advertisements of the 1950s and 60s and in current advertising discourse by combining the research traditions of both cognitive linguistics and semiotic image analysis. The aim of the research is to try to evaluate how canonical positionings of women in the hyperreality of advertisements may slip into everyday discourse (stereotype space) and to present an interpretation of the creators’ visual lexicon. It is presumed that the traditional (formed by feminist linguists) approach to sexist advertising as an expression of an androcentric worldview in culture may be considered too subjectively critical. This study complements an interpretation of women’s social roles in advertising with cognitive linguistic insights on the subject’s (woman’s) visualisation and positioning in ad space. The article briefly overviews the feminist approach to women’s place in public discourse, and discusses the relevance of Goffman’s Gender Studies to an investigation of women’s images in advertising. The scholar’s contribution to adapting cognitive frame theory for an investigation of visuals in advertising is also discussed. The analysed ads were divided into three groups by Goffman’s classification, according to the concrete visuals used to represent women’s bodies or parts thereof: dismemberment, commodification, and subordination ritual. The classified stereotypical images of women’s bodies are discussed as visual metonymy, visual metaphor, and image schemas.

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Baulch, Emma, and Alila Pramiyanti. "Hijabers on Instagram: Using Visual Social Media to Construct the Ideal Muslim Woman." Social Media + Society 4, no. 4 (October 2018): 205630511880030. http://dx.doi.org/10.1177/2056305118800308.

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This article studies uses of Instagram by members of Indonesia’s Hijabers’ Community. It shows how hijabers employ Instagram as a stage for performing middle-classness, but also for dakwah (“the call, invitation or challenge to Islam”), which they consider one of their primary tasks as Muslims. By enfolding the taking and sharing of images of Muslimah bodies on Instagram into this Quranic imperative, the hijabers shape an Islamic-themed bodily esthetic for middle class women, and at the same time present this bodily esthetic as a form of Islamic knowledge. The article extends work on influencer culture on Instagram, which has considered how and whether women exert control over their bodies in post-feminist performances of female entrepreneurship and consumer choice on social media. In it, we argue that examining the “enframement” of hijaberness on Instagram show it to be both a Muslim variant of post-feminist performances on social media, and a female variant of electronically-mediated Muslim preaching. That is, hijabers’ performances of veiled femininity structure and are structured by two distinct fields - a dynamic global digital culture and a changing field of Islamic communication – and point to a “composite habitus,” similar to that identified by Waltorp.

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DUTT, BISHNUPRIYA. "The Unsafe Spaces of Theatre and Feminism in India." Theatre Research International 37, no. 1 (January 26, 2012): 77–79. http://dx.doi.org/10.1017/s0307883311000812.

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In April 2011, after thirty-five years in power, the left-oriented progressive rule in Bengal, India, was brought down. Masterminding the overthrow was Mamata Banerjee. Banerjee has enjoyed a political career spanning over twenty years, during which time she has succeeded in maintaining a high public profile in the media and public sphere to become Bengal's first ‘woman’ chief minister. Surprisingly, during her campaign Banerjee neither asserted her identity as a woman nor as the non-feminine, monstrous presence of the public woman (à la Indira Ghandi's media presence in the 1970s), but rather performed a non-threatening, gender-neutral didi (elder sister in Bengali). I attribute this ‘smooth’ identity construction to a comfortable entente between a Western globalized visual culture, indigenous images commodified and circulating on the periphery, and the sudden expansion of electronic media. The convergence of all these factors served to create a non-dialectical identity construction which stood against all feminist politics or, as I would call it, feminism with a political imagination.

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Buonanno, Milly. "The Photoromance: A Feminist Reading of Popular Culture, Paola Bonifazio (2020)1." Journal of Italian Cinema & Media Studies 10, no. 1 (January 1, 2022): 122–25. http://dx.doi.org/10.1386/jicms_00109_5.

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Calvo, Luz. "Art Comes for the Archbishop." Meridians 19, S1 (December 1, 2020): 169–95. http://dx.doi.org/10.1215/15366936-8565946.

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Abstract Inspired by the Chicana feminist artist Alma López’s Our Lady (1999), this essay explores Chicana cultural and psychic investments in representations of the Virgin of Guadalupe. As an image of the suffering mother, the Virgin of Guadalupe is omnipresent in Mexican-American visual culture. Her image has been refigured by several generations of Chicana feminist artists, including Alma López. Chicana feminist reclaiming of the Virgin, however, has been fraught with controversy. Chicana feminist cultural work—such as the art of Alma López, performances by Selena Quintanilla, and writings by Sandra Cisneros and John Rechy—expand the queer and Chicana identifications and desires, and contest narrow, patriarchal nationalisms. By deploying critical race psychoanalysis and semiotics, we can unpack the libidinal investments in the brown female body, as seen in both in popular investments in protecting the Catholic version of the Virgin of Guadalupe and Chicana feminist reinterpretations.

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Sills, Sophie, Chelsea Pickens, Karishma Beach, Lloyd Jones, Octavia Calder-Dawe, Paulette Benton-Greig, and Nicola Gavey. "Rape culture and social media: young critics and a feminist counterpublic." Feminist Media Studies 16, no. 6 (March 23, 2016): 935–51. http://dx.doi.org/10.1080/14680777.2015.1137962.

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Tippett, Anna. "Debating the F1 grid girls: feminist tensions in British popular culture." Feminist Media Studies 20, no. 2 (February 4, 2019): 185–202. http://dx.doi.org/10.1080/14680777.2019.1574859.

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Nau, Charlotte. "Digital feminist activism: girls and women fight back against rape culture." Feminist Media Studies 20, no. 7 (June 25, 2020): 1061–62. http://dx.doi.org/10.1080/14680777.2020.1786939.

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Shohat, Ella. "Gender and culture of empire: Toward a feminist ethnography of the cinema." Quarterly Review of Film and Video 13, no. 1-3 (January 1991): 45–84. http://dx.doi.org/10.1080/10509209109361370.

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Koivunen, Anu. "Confessions of a Free Woman: telling feminist stories in postfeminist media culture." Journal of Aesthetics & Culture 1, no. 1 (January 2009): 4644. http://dx.doi.org/10.3402/jac.v1i0.4644.

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Creeber, Glen. "Romance Re-Scripted:Lost in Austen's comparative historical analysis of post-feminist culture." Feminist Media Studies 15, no. 4 (December 20, 2014): 562–75. http://dx.doi.org/10.1080/14680777.2014.994019.

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Betterton, Rosemary. "Promising Monsters: Pregnant Bodies, Artistic Subjectivity, and Maternal Imagination." Hypatia 21, no. 1 (2006): 80–100. http://dx.doi.org/10.1111/j.1527-2001.2006.tb00966.x.

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This paper engages with theories of the monstrous maternal in feminist philosophy to explore how examples of visual art practice by Susan Hiller, Marc Quinn, Alison Lapper, Tracey Emin, and Cindy Sherman disrupt maternal ideals in visual culture through differently imagined body schema. By examining instances of the pregnant body represented in relation to maternal subjectivity, disability, abortion, and “prosthetic” pregnancy, it asks whether the “monstrous” can offer different kinds of figurations of the maternal that acknowledge the agency and potential power of the pregnant subject.

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Braidotti, Rosi. "Punk Women and Riot Grrls." Performance Philosophy 1, no. 1 (April 10, 2015): 239. http://dx.doi.org/10.21476/pp.2015.1132.

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This paper deals with feminist cultural politics, nomadic thought and media activism. It combines theoretical insights from Gilles Deleuze’s philosophy with Riot Grrrl bands and women’s punk music. The paper explores two central aspects of the Pussy Riot’s performances: the visual and the musical. The visual includes an analysis of “the face” as a landscape of both power and resistance and discusses also the function of the mask as a cultural and political device. It then highlights the role of iconic images like Queen Beatrix, Angela Davies, the Guerrilla Girls and others in popular culture. The musical component includes Janis Joplin, the ultimate Riot Grrrl band Bikini Kill, Nina Hagen and, of course, Pussy Riot. Embodying the slogan “If I can’t dance, I don’t want to be part of your revolution” the paper argues for an affirmative and creative approach to feminist theory and practice and to contemporary cultural politics.

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Horeck, Tanya. "Screening Affect: Rape Culture and the Digital Interface in The Fall and Top of the Lake." Television & New Media 19, no. 6 (April 27, 2018): 569–87. http://dx.doi.org/10.1177/1527476418768010.

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Although it often goes unremarked, digital screens are a key point of commonality across the many different transnational renditions of the story of violence against girls and women found in contemporary TV crime drama. The Fall (United Kingdom, 2013–) and Top of the Lake (United Kingdom/Australia/New Zealand/United States, 2013–) are two striking examples of TV crime dramas that frame their self-conscious interrogation of rape culture through digital media. Considering the mutual imbrication of feminist politics and the deployment of new media technologies on these shows, this essay considers how the digital interface functions as a way of mediating viewer response to violence against women. Resisting a reading of digital technologies as either inherently oppressive or inherently liberatory, the essay explores how these TV series navigate the tension between the simultaneous violence of new media and its investigative/feminist/affective potential.

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Hamad, Hannah. "The One with the Feminist Critique: Revisiting Millennial Postfeminism with Friends." Television & New Media 19, no. 8 (June 12, 2018): 692–707. http://dx.doi.org/10.1177/1527476418779624.

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In the aftermath of its initial broadcast run, iconic millennial sitcom Friends (NBC, 1994–2004) generated some quality scholarship interrogating its politics of gender. But as a site of analysis, it remains a curious, almost structuring absence from the central canon of the first wave of feminist criticism of postfeminist culture. This absence is curious not only considering the place of Friends at the forefront of millennial popular culture but also in light of its long-term syndication in countries across the world since that time. And it is structuring in the sense that Friends was the stage on which many of the familiar tropes of postfeminism interrogated across the body of work on it appear in retrospect to have been tried and tested. This article aims to contribute toward redressing this absence through interrogation and contextualization of the series’ negotiation of a range of structuring tropes of postfeminist media discourse, and it argues for Friends as an unacknowledged ur-text of millennial postfeminism.

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Pollock, Griselda. "Feminism, art, the library and the politics of memory." Art Libraries Journal 37, no. 1 (2012): 5–12. http://dx.doi.org/10.1017/s0307472200017284.

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Questions posed in this short paper are based on thinking back over 30 years of feminist studies in the visual arts and museums. Does the library work for its culture, or sometimes against the grain of its own culture’s amnesia or even repressions? What are the politics of memory in relation to art library practices in terms of registering the critical reworking of knowledge that is associated with feminist critique of institutions, language, disciplines, practices, social relations? How are we to ensure libraries survive as keepers of cultural memory in the era of profitability? What will be lost under these economic pressures in terms of our ability in the future to understand our histories?

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Buszek, Maria Elena. "Ladies’ Auxiliary of the Lower East Side: Post-punk feminist art and New York’s Club 57." Punk & Post-Punk 9, no. 3 (November 1, 2020): 425–42. http://dx.doi.org/10.1386/punk_00037_1.

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This article analyses the feminist art that emerged from New York City’s short-lived, post-punk venue Club 57 (1978–83), where music mixed with visual art, experimental film, performance and politics. A hub of New York’s ‘downtown scene’, Club 57 exemplified ways in which artists’ increasingly promiscuous experiments across media led them to abandon galleries and museums in favour of nightclubs, discos and bars. This tendency dovetailed with the practices of an emergent generation of feminist artists eager to both break out of the sexist art world and engage with popular culture and audiences. A look at the work of Club 57’s manager Ann Magnuson, the performances and collectives she organized there and at other downtown clubs and other significant women whose work Club 57 supported provides a snapshot of the feminist artists in post-punk New York City, many of whose art and activism continue into the present.

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Huard, Adrienne. "CoC Methodology: Generating Communities of Care Within Indigenous Spaces Through Trauma-Informed Visual Culture." Public 31, no. 62 (December 1, 2020): 60–74. http://dx.doi.org/10.1386/public_00038_1.

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Interdisciplinary Two-Spirit, Métis/Saulteaux/Polish artist, Dayna Danger establishes Indigenous protocol through their artistic practice, which translates through their Mask series and their digital film Bebeschendaam, as they demonstrate the ways in which community is generated, upheld and maintained through their art works. In particular, these collaborative projects exemplify methodologies that revolve around building and nurturing community, which generates a Communities of Care methodology, formed by feminist theorist and scholar, bell hooks. Through this concept, Danger advocated for the term, CoC Methodology at their keynote at Concordia University’s Art History Graduate Student Association’s (AHGSA) 13th annual symposium on the theme of Communities of Care, held in February 2019. CoC Methodology relates to the stability and growth of Two-Spirit, Indigiqueer, trans, female and gender-variant Indigenous folks. By advocating for CoC Methodology, Danger’s artistic practice not only concentrates on the creative output, but also on the facilitation of community building and safe-keeping.

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Kramer, Lawrence. "Culture and musical hermeneutics: The Salome complex." Cambridge Opera Journal 2, no. 3 (November 1990): 269–94. http://dx.doi.org/10.1017/s0954586700003281.

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From Flaubert to Richard Strauss, male artists in late nineteenth-century Europe were fascinated by the figure of Salome. This fascination, indeed, amounted to a genuine craze. One representation sparked another: J.-K. Huysmans fantasised about paintings by Gustave Moreau; Oscar Wilde expanded on Huysmans; Aubrey Beardsley illustrated Wilde. Fine editions of Wilde's Salome with Beardsley's illustrations remained cult objects well into the twentieth century. In general, the Salome craze, like the science and medicine of its day, sought to legitimise new forms of control by men over the bodies and behaviour of women. The present paper revisits this well-known episode in cultural history with two distinct aims in mind, one interpretative, the other methodological. The interpretative aim is to offer a feminist approach to the fin-de-sièclecompulsion to retell the Salome story with lavish attention to misogynist imagery - those quivering female bodies and gory male heads. The methodological aim is to find a meeting ground for literary criticism and musicology as both disciplines aspire to become vehicles of a more comprehensive criticism of culture.

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Greer, Erin. "Wages for Face-Work." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (December 1, 2020): 88–115. http://dx.doi.org/10.1215/02705346-8631571.

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The episode “Nosedive” from the Netflix series Black Mirror (dir. Joe Wright, Netflix, UK, 2016) provides a dystopian version of a popular narrative about digital culture, according to which the ascent of social media marks the “feminization of the Internet,” its transformation from an open wilderness of hackers to a domesticated web of social performance and consumerism. This essay draws forward an argument implicit in “Nosedive”: social media use is a specific form of labor that Marxist feminists have taught us to call reproductive, the un- or underpaid labor sustaining domestic and social life (and thus also the global economy), which is compelled through normative idealizations that erase its status as labor. Reading the episode and the contemporary social media economy in dialogue with the Marxist feminist Wages for Housework movement, the essay argues that individual social media users’ unpaid digital labor—creating, sharing, and responding to content—sustains the platforms that extract their data as “surplus value.” It further draws on sociologist Erving Goffman’s account of “face-work” in order to clarify the way in which a person’s digital identity is produced in collaboration with others through ceaseless labors of interactive self-maintenance. This analysis foregrounds the limitations of Black Mirror’s political vision and reveals the political and theoretical resources provided by a materialist feminist critique of the tech economy.

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Medina Bañón, Raquel, and Barbara Zecchi. "Technologies of Age: The Intersection of Feminist Film Theory and Aging Studies." Investigaciones Feministas 11, no. 2 (June 14, 2020): 251–62. http://dx.doi.org/10.5209/infe.66086.

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Aging studies is a relatively new discipline, and its intersection with feminist film theory can lead to fundamental methodological and theoretical rethinking of the notion of cinema as a powerful technology of age. This essay provides an account of the ageism that permeates Western societies vis-à-vis the place of aging and gender in visual culture. In light of contemporary feminist conceptualizations of aging and aging narratives, this essay aims to propose possible new directions that cinema and feminist film theory can take as part of a new epistemological framework. It also explores new theoretical paradigms from an intersectional perspective aimed at deconstructing ageism in the film industry. Finally, by focusing on female aging narratives in several non-mainstream film productions, this essay advocates moving away from the binary approach of aging as either decline or success, and it suggests new, affirmative ways of looking at aging bodies, and of understanding old age.

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Helms, Lorraine. "The Weyward Sisters: towards a Feminist Staging of ‘Macbeth’." New Theatre Quarterly 8, no. 30 (May 1992): 167–77. http://dx.doi.org/10.1017/s0266464x00006618.

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Shakespeare's plays have long been subject to deconstruction and reconstruction – some would argue, since the moment the words left his pen and entered the arena of theatrical intervention; some, more conservatively, dating the process to the attempts during the Restoration to rewrite him according to new tastes and old ‘rules’. More recently, of course, the long search for an almost platonic ideal of ‘authority’ has been giving way not only before new ideas of what this constitutes in theatrical terms, but through conscious attempts to subvert a play's meaning – not necessarily as ‘intended’ by Shakespeare, but as received in the prevailing culture. Feminist directors and critics have of course been prominent in this process – but the following study of the role of the witches in Macbeth is distinctive not so much for applying twentieth-century ideologies to Renaisssance plays, but for its exploration of the ‘problem’ of the witches in the light of conventions which, still current in Shakespeare's times, are hard to recover in the practical theatre of our own. The author, Lorraine Helms, is currently Mellon Fellow in Theatre Arts at Cornell University. She has published several articles on renaissance drama, and is working on studies of gender and performance in both contemporary and historical interpretations of Shakespeare.

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Buszek, Maria-Elena. "Representing “Awarishness”: Burlesque, Feminist Transgression, and the 19th-Century Pin-up." TDR/The Drama Review 43, no. 4 (December 1999): 141–62. http://dx.doi.org/10.1162/105420499760263606.

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Co-winner, 1998 TDR student essay contest. Nineteenth-century actresses--especially as represented photographically--show many parallels to today's feminist identities. These women rejected the binary “wife-whore” as they sought to define in and for popular culture more varied and nuanced sexualroles for women in society.

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Paasonen, Susanna. "Grains of Resonance: Affect, Pornography and Visual Sensation." Somatechnics 3, no. 2 (September 2013): 351–68. http://dx.doi.org/10.3366/soma.2013.0102.

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In studies of pornography to date, feminist theorisations of looking have largely focused on issues of power, control and the gaze. Much, however, remains to be said of being impressed by images and sounds beyond conceptualisations of the gaze. This article investigates the possibilities of resonance as an analytical concept in and for addressing affective intensities in encounters with pornography and, with some reservations, with visual culture more generally. The article argues for the need of tactile concepts for tackling the force of images and our myriad ways of engaging with them – not as mere surfaces but as material entities that we are drawn to and impressed by. Rather than defining resonance as impersonal affective potentiality or force, the article addresses it as dynamic encounters between images, media technologies and the particular, historically layered sensoria of the viewing bodies. By doing so, the article explores both connections and differences between theorisations of affect and the methodological challenges that these distinctions pose.

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Journal articles on the topic 'Feminist visual culture'

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