Academic literature on the topic 'Postfeminism'
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Journal articles on the topic "Postfeminism"
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Middleton, Jason. "A Rather Crude Feminism." Feminist Media Histories 3, no. 2 (2017): 121–40. http://dx.doi.org/10.1525/fmh.2017.3.2.121.
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Postfeminist ideology “takes feminism into account” by framing liberal feminist principles as already achieved, thus preempting a more radical feminist politics that it constructs as both unpleasant and irrelevant. In a corresponding mode, postfeminist cultural objects derive their power in part by preempting feminist critique with irony. It is precisely this ideological double bind that the comedian Amy Schumer confronts. This essay analyzes how Schumer develops a feminist critique of the knotty problems of postfeminist ideology. Postfeminism casts feminism as abject, as the “repulsive and disgusting” monster that perpetually endangers the “empowered” postfeminist woman of today. But Schumer inverts this construction: in her show's sketches, postfeminism as an ideological formation materializes in an array of comic abjections to which Schumer's persona is subject. In short, the condition of postfeminism is one of abjection. The comic hyperbole of Schumer's character's abjections, combined with her uncritical complicity, invokes for the viewer feminist solutions.
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Liu, Helena. "An embarrassment of riches: The seduction of postfeminism in the academy." Organization 26, no. 1 (March 23, 2018): 20–37. http://dx.doi.org/10.1177/1350508418763980.
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Given critiques of postfeminism as a neoliberal and patriarchal discourse that has taken considerable tolls on professional life, its popularity in organisational practice seems out of place. This article explores the processes of postfeminism through an autoethnographic inquiry of my experiences working as a research fellow at a leadership research centre in Australia. In theorising from my narrative accounts as an early career scholar, I offer a view into the entangled processes of postfeminist knowledge production and my own making as a postfeminist subject. In doing so, I attempt to illustrate the seductive appeal of postfeminism as an ostensibly empowering process that ultimately preserves White elite class patriarchal power.
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Kotliuk, Galyna. "POSTFEMINIST FEMININITY IN POP CULTURE DISCOURSES OF THE 1990s AND 2000s." CULTURE AND ARTS IN THE MODERN WORLD, no. 23 (June 30, 2022): 47–56. http://dx.doi.org/10.31866/2410-1915.23.2022.260785.
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The concept of postfeminism has become one of the central and most important concepts in feminist cultural studies continually raising a lot of debates and discussions. As an important social and cultural phenomenon, postfeminism has extensively invaded popcultural and media spaces at the turn of the last century, and by doing so has drastically (re)shaped the very concept of femininity in mass culture of the 1990s and early 2000s. The controversial nature of postfeminism has created a new concept of femininity, which was located outside of both patriarchal and feminist discourses. The purpose of this article is to analyse postfeminist femininity in various popular TV series and films of the time, locate their representations of femininity within the existing contemporary postfeminist discourse and trace its impacts on the modern understanding of womanhood. The research methodology consists of comparative analysis and synthesis methods, which have made it possible to identify the main features and key concepts of postfeminism as socio-cultural phenomenon. The historical and cultural approaches as well as the systemic method have allowed us to understand the influence of postfeminism on pop-culture as well as to trace its multifaceted relations to public media discourses. The elements of critical and content analyses, as well as the complex processes decomposition method, were used for the assessment of postfeminist theory as a concept-methodological basis for the further analysis of media products in their relation to postfeminist discourses. The scientific novelty lies in analysing the unique sensibilities typical for postfeminism and applying this theoretical knowledge to reinvent female images in pop culture discourses, thus offering a new approach to understanding femininity outside the patriarchal narratives as well as second- and third-wave feminism. Conclusions. The findings of the article provide a new perspective on popular and well-known products of the media industry of the 1990s and 2000s, re-read them within the scope of the postfeminist framework, and offer a new angle of interpretation of femininity at the turn of the last century.
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Frasl, Beatrice. "Bright young women, sick of swimmin’, ready to … consume? The construction of postfeminist femininity in Disney’s The Little Mermaid." European Journal of Women's Studies 25, no. 3 (April 29, 2018): 341–54. http://dx.doi.org/10.1177/1350506818767709.
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This study assesses how Disney’s The Little Mermaid can be read as a ‘postfeminist text’. It uses Gill’s concept of ‘postfeminist sensibility’ and McRobbie’s understanding of postfeminism as a ‘double entanglement’ of feminist and antifeminist discourses in analysing the text. Furthermore it aims at contributing to the understanding of postfeminism as a pop cultural discursive mode by focusing on the ways heteronormativity structures and presupposes it. In this sense, this reading of The Little Mermaid can be understood as a case study on the heteronormativity of postfeminist discourses and representations.
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Özdemir, Burcu Dabak. "Postfeminism à la Turca." Journal of Middle East Women's Studies 17, no. 2 (July 1, 2021): 177–96. http://dx.doi.org/10.1215/15525864-8949436.
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Abstract This essay analyzes how postfeminism is constructed on a visual level in the Turkish context. It uses theories of postfeminism to discuss new popular romantic comedies of Turkish cinema by comparing the new female protagonists with the women portrayed in Yeşilçam melodramas. Three films—Kocan Kadar Konuş (dir. Kıvanç Baruönü, 2014), Hadi İnşallah (dir. Ali Taner Baltacı, 2014), and Aşk Nerede? (dir. Semra Dündar, 2015)—are analyzed from a postfeminist perspective, opening up a new scholarly discussion about the place of postfeminism in the Turkish cinema. These films represent what may be termed “Turkified” postfeminism, which has been commonly discussed for the Western world but not sufficiently taken into account for Middle Eastern women.
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Balu, Abdalla Fatah, and Saman Salah Hassan. "A Postfeminist Criticism of Caryl Churchill’s Vinegar Tom and Fen." Journal of University of Raparin 6, no. 1 (June 28, 2019): 158–83. http://dx.doi.org/10.26750/vol(6).no(1).paper10.
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This study is chiefly a postfeminist criticism of two of Caryl Churchill’s plays, Vinegar Tom (1976) and Fen (1982). In its introduction part, the topic, playwright and background information of the era are identified, and postfeminism as the theory of the paper is introduced in order to discover and analyze postfeminist issues in the texts of the plays and respond to the basic research questions as follows: what are the postfeminist elements that can be found in both texts? How do women represent the postfeminist new possibilities of individuality and sexuality? What are the implications of femininity and its perception in postfeminism? Do women celebrate the opportunity of career and financial independence or they retreat to domesticity? How do women embody postfeminist issues of marriage, family and children, and what is the position of men in that embodiment? Then, both plays are analyzed respectively in their chronological order through the use of postfeminist theory. The study is significant as it assists the readers to gain a better understanding of postfeminism, identify its elements in both texts, and analyze gender relations in the texts and in the contemporary life which helps both genders, specifically women, to comprehend equality, gender roles, domestic life, individual independence, comparison between women’s circumstances in the past and in the contemporary life, their various voices, the nature of new life, their relationship and cooperation with men, and the choice between their individual promotion and their familial duties or their coexistence.
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Boshoff, Priscilla. "Breaking the Rules: Zodwa Wabantu and Postfeminism in South Africa." Media and Communication 9, no. 2 (March 23, 2021): 52–30. http://dx.doi.org/10.17645/mac.v9i2.3830.
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Zodwa Wabantu, a South African celebrity recently made popular by the <em>Daily Sun</em>, a local tabloid newspaper, is notorious as an older working-class woman who fearlessly challenges social norms of feminine respectability and beauty. Her assertion of sexual autonomy and her forays into self-surveillance and body-modification, mediated by the <em>Daily Sun</em> and other tabloid and social media platforms, could be read as a local iteration of a global postfeminist subjectivity. However, the widespread social opprobrium she faces must be accounted for: Using Connell’s model of the gender order together with a coloniality frame, I argue that northern critiques of postfeminism omit to consider the forms of patriarchy established by colonialism in southern locales such as South Africa. The local patriarchal gender order, made visible within the tabloid reportage, provides the context within which the meaning of Zodwa Wabanu’s contemporary postfeminist identity is constructed. I examine a range of Zodwa Wabantu’s (self)representations in <em>Daily Sun</em> and other digital media in the light of this context, and conclude that a close examination of the local gender order assists in understanding the limits of postfeminism’s hegemony.
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Gill, Rosalind. "The affective, cultural and psychic life of postfeminism: A postfeminist sensibility 10 years on." European Journal of Cultural Studies 20, no. 6 (November 20, 2017): 606–26. http://dx.doi.org/10.1177/1367549417733003.
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This article revisits the notion of ‘postfeminism’ 10 years after its formulation in critical terms as a sensibility characterizing cultural life. The article has two broad aims: first to reflect upon postfeminism as a critical term – as part of the lexicon of feminist scholarship – and second to discuss the current features of postfeminism as a sensibility. The first part of the article discusses the extraordinary uptake of the term and considers its continuing relevance in a changed context marked by deeply contradictory trends, including the resurgence of interest in feminism, alongside the spectacular visibility of misogyny, racism, homophobia and nationalism. I document a growing attention to the specificities of postfeminism, including attempts to map its temporal phases, its relevance to place, and intersectional developments of the term. The second part of the article examines the contours of the contemporary postfeminist sensibility. I argue that postfeminism has tightened its hold upon contemporary life and become hegemonic. Compared with a decade ago, it is much more difficult to recognize as a novel and distinctive sensibility, as it instantiates a common sense that operates as a kind of gendered neoliberalism. It has both spread out and intensified across contemporary culture and is becoming increasingly dependent upon a psychological register built around cultivating the ‘right’ kinds of dispositions for surviving in neoliberal society: confidence, resilience and positive mental attitude. Together these affective, cultural and psychic features of postfeminism exert a powerful regulatory force. This article forms part of ‘On the Move’, a special issue marking the twentieth anniversary of the journal. It also heads up a special online dossier on ‘Postfeminism in the European Journal of Cultural Studies’.
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Gill, Rosalind. "Post-postfeminism?: new feminist visibilities in postfeminist times." Feminist Media Studies 16, no. 4 (June 23, 2016): 610–30. http://dx.doi.org/10.1080/14680777.2016.1193293.
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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.
Dissertations / Theses on the topic "Postfeminism"
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Thouaille, Marie-Alix. "The single woman author on film : screening postfeminism." Thesis, University of East Anglia, 2018. https://ueaeprints.uea.ac.uk/68982/.
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This thesis theorises the single woman author as a recurrent and distinctive character in Anglo-American film in the period 1994-2018. Tracking the figure across genres and industrial provenances through detailed textual analysis, I uncover the shared meanings and feeling rules embedded within, produced by, and circulating through, this figure. In doing so, I identify four key interrelated representational tropes. Firstly, authorship and singleness signify as mutually constitutive identities indicative of postfeminist agency. Secondly, authorship functions as an autobiographical outlet enabling the expression of the heroine’s innate femininity, partly defusing anxieties about women’s professional labour. Thirdly, authorship facilitates the performance of relational labour promising to remedy the single woman’s disordered unmarried subjectivity. And, finally, the single woman author’s success is authorised by a male mentor in ways which authenticate or naturalise patriarchal authority. Through these tropes and their repetition, authoriality is imagined as an ideal form of labour for the single woman subject. Though both female singleness and female authorship are mobilised as signifiers of female agency with the potential to upend the traditionally gendered distribution of power, this thesis reveals how the single woman author has become a desirable postfeminist subjectivity precisely because she leaves undisturbed hierarchies of gender and power. This figure is therefore a site of contradiction, ambiguity, and ambivalence. As such, she is an ideal prism through which to chart shifts within postfeminism itself. The evolution of the above tropes in recent films accordingly suggests that the postfeminist sensibility has lately undergone an affective shift. Recent texts, this thesis concludes, demonstrate the filtering of feminist critiques of patriarchal structures into popular culture. However, at the same time, they are also suggestive of the continued resilience of postfeminism, and its ongoing ability to take feminism into account.
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Ginsburg, Sara A. "Postfeminism Analysis of Sexualized Images in Fashion Advertisements." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1543.
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This article applies methods of semiotic analysis to representations and understandings of female sexuality in fashion advertising. Through the framework of Paolo Freire’s Action Learning model, also known as the “empowerment spiral”, it is concluded that advertisements dealing in overt sexualization's of traditional conceptions of femininity produces a one-sided discourse in femininity in which the decoding of media images is oversimplified through a binary approach. In effect, this produces conflicts detrimental to feminist progress by virtue of ostrisizing postfeminist appreciations of sexual empowerment.
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Heatwole, Leslie Alexandra. "Renegotiating the Heroine: Postfeminism on the Speculative Screen." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13959.
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This thesis examines postfeminism as a multi-faceted cultural phenomenon and considers its lasting impact on understandings of girlhood. Its particular focus is a discussion of speculative fiction texts (literature, television series and films) oriented towards young adults, pursuing the idea that, in the postfeminist context, girl heroes are ideally placed to imagine both the future and the past. Considering the striking popularity of speculative fiction centrally featuring girls, and often addressed to them, this thesis considers the central concerns of postfeminism as it has been conceived in feminist criticism since the 1990s from a contemporary perspective. This thesis offers three key hypotheses: first, that speculative fiction offers a privileged space in which gender identity is interrogated, most often with a central focus on girls; second, that postfeminism marks a cultural shift in which some key elements of feminism are integrated with the culture industry and thus available to be consumed in forms that especially appeal to girls in a complex and at times problematic way; and third, that our contemporary understanding of girlhood as a concept and girls as a category also crucially changed during this period, heavily influenced by media representations of postfeminism. Built on these hypotheses is a thesis that discourse surrounding postfeminism is currently shifting, and issues traditionally associated with postfeminism are being reconsidered within contemporary media. The thesis examines recent popular films such as the Twilight films and The Hunger Games and popular science fiction and fantasy television series, including Buffy the Vampire Slayer, Orphan Black, and Once Upon a Time. It also pays particular attention to current adaptations of texts key to girl culture, such as Alice’s Adventures in Wonderland and Disney princess films, to reflect on differences in the way these texts understand both contemporary girlhood and the impact of feminism. It understands these texts as responding to, and producing a contemporary commentary on, crucial feminist issues that themselves centre on ideas about girlhood, including risk, sexuality and desire, and the ‘postfeminist masquerade’. Discussion of contemporary popular culture enables this thesis to historicise feminist representation of girls relative to these issues during the 1980s and 90s. The primary objective of the thesis is to contextualize the popularity of speculative fiction within a changing popular discourse of girlhood and, more specifically, feminist girlhood.
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Dosekun, Simidele Olatokunbo. "Fashioning spectacular femininities in Nigeria : postfeminism, consumption and the transnational." Thesis, King's College London (University of London), 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.680161.
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This thesis concerns class-privileged young women in Lagos, Nigeria, who dress m a 'hyper-feminine style' characterized by the spectacular use and combination of elements such as cascading hair extensions, long acrylic nails, heavy make-up, false eyelashes and towering heels. Understanding gender as discursively and performatively constituted, and the practice of 'dressing up' as one of its technologies, the thesis explores what kinds of gendered subjectivities such women are constituting in and through their particular style. It is based on semi-structured qualitative interviews with 18 women aged between 18 and 35, and takes a discursive analytic approach to explore the subject positions that the women variously negotiate as they talk about their style and its requisite practices, considerations and meanings. Repertoires of individualized choice, pleasure, entitlement and empowerment run through the women's talk, while contrary notions and also experiences of their dress practice as normative, disciplined, laborious, physically risky and painful are downplayed and deflected. The research participants position themselves as knowing and skilled consumers of fashion and beauty, and proffer this as both an empowered and empowering feminine rationality. Asserting simultaneously black, Nigerian and cosmopolitan positionalities, they reject any suggestion of performing a racially or culturally inauthentic style of femininity. They name their fashion as 'girly' and themselves as 'girly-girls' but emphasize that these discursive positions signify neither feminine frivolity nor traditional domesticity but stylized freedom. Abstract: As such the thesis argues that the women see themselves as postfeminist subjects: already individually empowered, beyond gendered politics and power. The thesis supports this empirical contention by re-theorizing postfeminism as a classed and commodified transnational cultural sensibility. In its concern with the performative intersections of gender, race, class, consumption, locality and transnationality in the fashioning of contemporary African femininities, the thesis makes unique and critical contributions to feminist and African cultural studies.
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Braithwaite, Andrea. "Triple threats: young female detectives and the crimes of postfeminism." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86825.
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Triple Threats: Young Female Detectives and the Crimes of Postfeminism examines the increasingly visible character of the amateur female sleuth in popular culture. I argue that, while a postfeminist media and political environment conditions this "chick dick's" existence, the chick dick also "talks back" to postfeminism, specifically to the postfeminist insistence that feminism has been successful and is no longer relevant or necessary. The chick dick thus "speaks feminism" in an environment that makes such a voice difficult to hear.I focus primarily on the aspects of these popular narratives that engage with the postfeminist notion that women and men are social equals. I demonstrate how the rhetoric of "choice" is used to depoliticize the conditions in which young women live, work, and study, individualizing their problems into matters of personal choice rather than political consequence. I examine how both social space and investigative technologies are gendered through concepts of risk and authority, and how such gendering works to uphold a patriarchal power dynamic that makes women vulnerable to a spectrum of sexualized violence. I deconstruct the concept of a "crisis in masculinity" to show how this trope legitimizes the exercise of an aggressive and violent masculinity on the bodies of female and feminized "others."
These popular narratives also illustrate the labour involved in embodying a postfeminist or "chick" femininity, affectively recounting how these female characters feel about the regimes of self-care and self-management they undertake daily, and how they respond to a "new traditionalist" model of womanhood that requires monogamy, marriage, and motherhood for female worth. I contextualize these stories within the cultural and industrial productive contexts to argue that the chick dick's feminist and proto-feminist undertones make her an unsuitable subject for mainstream, blockbuster filmmaking.
« La triple menace : jeunes inspectrices et les crimes de le postféminisme » examine la caractère plus en plus visible de l'inspectrice amateur dans la culture populaire. Considérant que le milieu du média et la politique dans le postféminisme conditionne l'existence de la « chick dick », elle réplique au postféminisme, plus particulièrement à l'insistance postféministe que le féminisme est un succès et qu'il n'est pas encore pertinent ou nécessaire. La « chick dick » parle ainsi le féminisme dans un milieu qui fait une telle voix difficile à entendre.
Je focalise sur les aspects de ces récits populaires que s'engagent avec la notion postféministe que les femmes et les hommes sont égales. Je démontre comment la rhétorique du « choix » est utilisée pour dépolitiser la condition de la vie, du travail et d'étude pour les femmes. Ces conditions individualisent leurs problèmes comme des affaires du choix personnel au lieu des conséquences politiques. J'examine comment l'espace sociale et aussi les technologies d'investigation sont basées sur le genre par les concepts du risque et l'autorité. Ça soutient une dynamique patriarcale du pouvoir qui fait les femmes vulnérables à plusieurs formes de la violence sexuelle. Je déconstruis l'idée d'une « crise de la masculinité » pour montrer comment ce trope justifier l'exercice d'une masculinité agressif et violent sur les corps des « autres »--femmes et féminisés.
Ces récits populaires illustrent aussi le travail d'incarner une féminité « chick » ou postféministe. Ils racontent affectivement comment ces femmes se sentent des régimes quotidiens de soin et d'administration de soi-même. En plus, les récits nous disent comment ces femmes répondent à un modèle de la vie de femme « nouveau traditionaliste » qui requise la monogamie, la mariage et la maternité pour valoriser les femmes. Je situe cette histoire dans le contexte de leur production culturelle et industrielle et je conclus que les currents féministes et proto-féministes de la « chick dick » la faisant un sujet inapte pour la cinétographie blockbuster.
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Mahoney, Cathy. "A historical sensibility : television, postfeminism and the Second World War." Thesis, Northumbria University, 2017. http://nrl.northumbria.ac.uk/35041/.
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Postfeminism is not an ideological position or coherent theoretical framework that can be applied externally to the analysis of texts. Indeed popular postfeminism – as distinguished in this thesis from academic postfeminism – is knowable only through its workings in culture, specifically in the representation of gender in “postfeminist” media texts. Therefore, this thesis does not adopt a postfeminist position or approach to analyse the source texts, but rather seeks to identify and deconstruct a postfeminist sensibility within them. This sensibility became apparent in 1990s depictions of characters such as Bridget Jones (Renée Zellweger) and Ally McBeal (Calista Flockhart); however, it prevails in texts created in the current moment and inflects their representation of women. This thesis seeks to identify the themes and characteristics of this sensibility at the site of their creation – media texts representing women – expose the reasons why they are problematic, and show that the same traits exist in the texts considered here. In so doing it seeks to demonstrate that postfeminist ideals are still informing representations of women in the media. Furthermore, it seeks to demonstrate that this postfeminist sensibility, despite being a product of 1990s postfeminism and the current post/post-post-feminist moment, inflects representations of women from different time-periods, specifically from the Second World War and immediate post-war period. Because of the media’s (and specifically television’s) central role in the formation of cultural memory, this creates a lens through which women’s history and women’s historical identities are viewed in the present day. This postfeminist lens, or sensibility (Gill 2007), is thereby dehistoricised as an aspect of essential femininity. In this way the politics of the present are cast onto the past. Through this process, the events of the past are drained of any independent meaning and repurposed/redeployed to meet the needs of the present. The centrality and ubiquity of such postfeminist visions of the past is such that postfeminist discourse has become a central component of what this thesis terms, the Historical Sensibility which informs and structures historical drama on television.
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Tully, Meg. "Trainwreck feminism: women, comedy and postfeminist culture." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6315.
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This dissertation develops the theoretical framework of “trainwreck feminism.” Forwarded by contemporary women in comedy like Mindy Kaling, Abbi Jacobson, Ilana Glazer, and Amy Schumer, trainwreck feminists adopt the trope of the trainwreck—excessive in need, sex, and madness—to demonstrate the disastrous consequences of growing up in postfeminist culture that both insists women are finally liberated and continues to police their choices. Engaging ongoing debates about whether postfeminism is over since feminism is becoming a status symbol for celebrities and public figures, I argue that postfeminism remains a powerful cultural force, and women in comedy are some of its most vocal critics. Trainwreck feminism exposes the misogyny at the core of postfeminist culture, while arguing that feminist activism is still needed. Trainwreck feminism is reflective of a larger rejection of postfeminist culture, a contradictory moment that celebrates feminism’s achievements while insisting the movement is outdated. Trainwreck feminism represents a larger re-politicization of feminism in pop culture.
Each chapter examines a different comic and the specific branch of postfeminism they undermine: Mindy Kaling and the postfeminist life cycle, Abbi Jacobson and Ilana Glazer and commodity feminism, and Amy Schumer and choice feminism. Ultimately, these women imbue the trainwreck with true feminist potential, pointing a finger at postfeminist culture as a source of women’s madness. Because they are cautionary tales, trainwrecks can highlight the unspoken rules and expectations of femininity. While comedy can have a fairly nasty, depoliticizing relationship with feminism, often turning feminism into a lifestyle or label devoid of political activism, I argue that some contemporary comic texts are actively politicized, inspiring viewers to critique and change the world around them. They do so by appropriating particular vernacular rhetorics that appeal to younger, millennial audiences and using it to demonstrate how postfeminism has failed women. That is, each comic I examine leverages postfeminist sensibilities in order to critique and undermine them, engaging in a trainwreck feminism that highlights the contradictions, absurdities, and misogyny at the heart of postfeminist culture.
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Kent, Miriam. "Marvel women : femininity, representation and postfeminism in films based on Marvel comics." Thesis, University of East Anglia, 2016. https://ueaeprints.uea.ac.uk/64255/.
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Recent years have witnessed an influx of superhero films, particularly those based on Marvel comics. From X-Men (2000) and Spider-Man (2002) to team-up mega-blockbuster The Avengers (2012) and Guardians of the Galaxy (2014), the stream of Marvel superhero adaptations is ongoing and relentless. These films have received modest academic attention; however, close examination of the specific portrayals of women in superhero films has remained sporadic. This thesis is the first work to cohesively consider representations of women in films based on Marvel comics, from The Punisher (1989) to more recent films such as Captain America: The First Avenger (2011). Through textual analysis which accounts for discursive, contextual and ideological issues surrounding these films, I discuss how representations of women in Marvel adaptations are informed by discourses of anxiety and struggle regarding gender issues in wider Western culture. The superhero boom occurred at a time which can be considered “postfeminist,” in which discourses of women’s “empowerment” are actively incorporated into media texts, while specific references to political feminism are shunned. Tracing historical and cultural contexts from the characters’ comic book forms, this thesis provides an exhaustive account of issues of women’s empowerment in Marvel films with particular emphasis on the ways in which postfeminist culture has shaped such portrayals. The films are considered within a wider action genre framework, drawing from existing scholarship in the field of feminist film studies. However, attention is also drawn to the role of sexuality and race within these largely white, heterosexual portrayals of feminine empowerment. Overall I consider the questions: How is power negotiated within female Marvel characters? How does an emphasis on sex appeal relate to feminist and postfeminist culture? How do these representations intersect with greater issues involving sexuality and race? And, importantly, in what ways do these representations tie in to modes of women’s empowerment in the time periods during which these films were released?
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Albouss, Faleh. "Postfeminism and Middle Eastern female academics in UK universities : a discursive analysis." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/62594/.
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This thesis explores how Middle Eastern Female Academics appropriate postfeminist discourses emphasising choice, agency and individual decision-making to account for their work experiences in British universities. In looking at their accounts of their academic work experiences, the thesis highlights how they downplay inequality - a contrast to much of the existing literature on gender and the academy which suggests that all women and in particular women of colour, face multiple levels of exclusion in university workplaces characterised by a masculine norm. Approaching postfeminism as a discursive formation and using it as a critical concept to interpret the data, the analysis identifies four interpretive repertoires drawn on by 20 female academics of Middle Eastern origin within the context of in-depth interviews. These include (1) individualism, choice and empowerment, (2) 'natural' sexual difference, (3) retreatism - western tradition of working mothers, (4) retreatism - Middle Eastern tradition of extended family of origin. Through use of these interpretive repertoires the respondents firstly deny experiences of inequality and secondly constitute an academic "feminine" identity derived from the co-existence of masculine and feminine behaviours as follows: (1) the independent academic woman, (2) the academic mother - western tradition, and (3) the traditional Middle Eastern academic. As the thesis takes a discursive approach, these identities are not treated as fixed and stable rather they are understood as being constructed through postfeminist discourses and constantly negotiated with work colleagues and others. Thus, the identified academic femininities are understood in processual terms as something MEFA 'do' or 'perform' as opposed to being a static attribute they 'have' (Benwell & Stokoe, 2006). Identification of these interpretive repertoires and the three academic femininities demonstrates the following: first, that similar to their white, western colleagues, Middle Eastern Female Academics draw on the discursive formation of postfeminism and that their use of postfeminist discourses shapes how they configure and speak about their academic work experiences. Second, Middle Eastern Female Academics constitute academic identities within postfeminism. Third, our understanding of tradition as an element of the postfeminist discursive formation needs to be expanded to include domestic responsibilities attached to family of origin as well as domestic responsibilities connected to motherhood.
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Magladry, Madison Rose. "Fitspiration or Fitsploitation? Postfeminism, Digital Media and Authenticity in Women’s Fitness Culture." Thesis, Curtin University, 2018. http://hdl.handle.net/20.500.11937/75531.
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Women’s fitness culture calls for women to take responsibility for their physical fitness in a way that contests but also actively draws from well-established models of femininity. This thesis asks how and to what extent women’s fitness represents itself as empowering at the same time as it reinforces gender roles. Women’s fitness conveys a postfeminist sensibility characterised by a neoliberal emphasis on transforming the self while presenting this project as a mode of feminist liberation.
Books on the topic "Postfeminism"
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Rebecca, Wright, and Appignanesi Richard, eds. Introducing postfeminism. Cambridge: Icon, 1999.
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Riley, Sarah, Adrienne Evans, and Martine Robson. Postfeminism and Health. Abingdon, Oxon ; New York, NY : Routledge, 2019. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315648613.
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Gwynne, Joel. Erotic Memoirs and Postfeminism. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137326546.
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Gwynne, Joel, and Nadine Muller, eds. Postfeminism and Contemporary Hollywood Cinema. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137306845.
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Genz, Stéphanie. Postfeminism: Cultural texts and theories. Edinburgh: Edinburgh University Press, 2009.
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1977-, Brabon Benjamin A., ed. Postfeminism: Cultural texts and theories. Edinburgh: Edinburgh University Press, 2009.
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1962-, Gamble Sarah, ed. The Routledge companion to feminism and postfeminism. London ; New York: Routledge, 2001.
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1962-, Gamble Sarah, ed. The Routledge critical dictionary of feminism and postfeminism. New York: Routledge, 2000.
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1962-, Gamble Sarah, ed. The Icon critical dictionary of feminism and postfeminism. Trumpington: Icon, 1999.
Find full textBook chapters on the topic "Postfeminism"
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Boyd, Patricia R. "Paradoxes of Postfeminism." In Feminist Theory and Pop Culture, 103–14. Rotterdam: SensePublishers, 2015. http://dx.doi.org/10.1007/978-94-6300-061-1_8.
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Dosekun, Simidele. "Conclusion." In Fashioning Postfeminism, 139–46. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043215.003.0007.
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Pulling together the book’s central findings and arguments, this chapter extends a further critique of postfeminism as making false promises to women or, indeed, a nonperformative, bound to fail because the transformative cultural, material and political shifts required for it to be materialized have not come to pass. The chapter concludes with a reflection of whether we are, in any case, now in post-postfeminist times as a number of feminist cultural scholars have begun to suggest of late.
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"Postfeminism." In Encyclopedia of Educational Philosophy and Theory, 1925. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-287-588-4_100824.
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"Postfeminism." In Key Concepts in Gender Studies, 107–10. 1 Oliver’s Yard, 55 City Road London EC1Y 1SP: SAGE Publications Ltd, 2017. http://dx.doi.org/10.4135/9781473920224.n33.
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Lewis, Patricia. "Postfeminism." In Postfeminism and Organization, edited by Yvonne Benschop and Ruth Simpson, 3–18. Routledge, 2017. http://dx.doi.org/10.4324/9781315450933-1.
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"Postfeminism." In The Routledge Companion to Feminism and Postfeminism, 47–56. Routledge, 2004. http://dx.doi.org/10.4324/9780203011010-12.
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Handyside, Fiona. "Postfeminism." In The Bloomsbury Handbook to Sofia Coppola. Bloomsbury Academic, 2023. http://dx.doi.org/10.5040/9781350244337.0030.
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"Frontmatter." In Postfeminism, i—iv. Edinburgh University Press, 2017. http://dx.doi.org/10.1515/9781474411240-fm.
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"Introduction." In Postfeminism, 1–22. Edinburgh University Press, 2017. http://dx.doi.org/10.1515/9781474411240-002.
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"9. Men and Postfeminism." In Postfeminism, 198–215. Edinburgh University Press, 2017. http://dx.doi.org/10.1515/9781474411240-011.
Full textConference papers on the topic "Postfeminism"
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Listyani, Refti Handini, Diyah Utami, FX Sri Sadewo, and Farid Pribadi. "The Rising of Postfeminism in Beauty Styling by Beauty Influencers in Indonesia." In 3rd International Conference on Social Sciences (ICSS 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201014.058.
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Citra Ranteallo, Ikma, and Imanuella Romaputri Andilolo. "Postfeminims and Femvertising Issues on Mountaineering." In International Conference on Ethics in Governance (ICONEG 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iconeg-16.2017.26.
Full textReports on the topic "Postfeminism"
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Pritchard, Katrina, and Helen Williams. Pretty in Plastic: Aesthetic authenticity in Barbie Land. Swansea University, January 2024. http://dx.doi.org/10.23889/sureport.65542.
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Our report critically applies aesthetic authenticity as a theoretical lens to interrogate the multimodal reproduction of gendered relations in the Barbie (2023) movie. Recent research has focused on how the aesthetic authenticity stakes are being continually elevated, such that this requires ongoing labour and continual renegotiation. It is not surprising that even Barbie finds this exhausting! We offer an analysis of character arcs across the movie, before exploring how a plastic doll enables conceptual insight regarding aesthetic authenticity. We discuss how the movie reconfirms neoliberal postfeminist perspectives on how women should seek their happy ever after. Finally, we consider the implications of representations of patriarchy and matriarchy before setting out suggestions for future research and concluding our report.
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Yeomans, Liz, and Fabiana Gondim-Mariutti. Different Lenses: Women's Feminist and Postfeminist Perspectives in Public Relations / Diferentes Lentes sobre Perspectivas Feministas e Pós-feministas das Mulheres em Relações Públicas. Revista Internacional de Relaciones Públicas, December 2016. http://dx.doi.org/10.5783/rirp-12-2016-06-85-106.
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