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Journal articles on the topic 'Postfeminism'
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1
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.
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LICHEVA, Amelia. "POSTFEMINISM." Ezikov Svyat volume 19 issue 3, ezs.swu.v19i3 (October 1, 2021): 120–24. http://dx.doi.org/10.37708/ezs.swu.bg.v19i3.13.
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In the age of all "post" and "meta" things, when there has been more and more debates about the death of traditional categories, feminism makes no exception. Postfeminism has been discussed since the last decade of the twentieth century, when feminism was pronounced dead (by analogy with the many deaths that were pronounced in the period), or else it was noted as suffering from an "identity crisis." The multifaceted nature of the term depends on its uses in literary studies, academia, politics, and popular culture, respectively. It is part of the vocabulary and theories of feminist scholars working in the fields of gender studies, film studies and media criticism. Traditional feminism gives way to postfeminism. That is why the article deals with today's debates about the distinctions that postfeminism makes, declaring either that traditional feminism has failed or, on the contrary, that it has achieved all goals of its struggle and today there is no place for the topic of women's rights. The text also focuses on the links between postfeminism and popular culture, media, cinema, defending the ideology of successful women, of eternally young women. With its frequent emphasis on luxurious lifestyle, everyday pleasures and the small things in life, postfeminism is fully integrated into economic discourses and new market niches in Western societies.
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Jenzen, Olu. "A Queer Tension." Film Studies 22, no. 1 (May 1, 2020): 30–46. http://dx.doi.org/10.7227/fs.22.0003.
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This article concerns itself with feminist comedy that is deemed angry and difficult in an era of postfeminism. Hannah Gadsby’s live show Nanette, released as a Netflix film, can be described as difficult because it is politically challenging, emotionally demanding and disrupts the established format of stand-up comedy. Yet it has had critical and commercial success. Nanette challenges the underpinning assumption of postfeminism: that feminism is no longer needed. It is feminist and angry. To explore the phenomenon of angry feminist comedy in the postfeminist era, the article considers the comedy of Gadsby through the figure of the feminist killjoy, coined by Sara Ahmed, to reflect how the killjoy and the queer art of failing offer forms of political ‘sabotage’ that subvert comedy as masculinist popular culture.
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Han, Catherine Paula. "Picturing Charlotte Brontë’s Artistic Rebellion? Myths of the Woman Artist in Postfeminist Jane Eyre Screen Adaptations." Adaptation 13, no. 2 (March 29, 2020): 240–69. http://dx.doi.org/10.1093/adaptation/apz034.
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Abstract Charlotte Brontë’s Jane Eyre: An Autobiography (1847) has been regularly adapted for the screen since the silent era. During the 1990s, a trend emerged in which cinematic and television versions of Brontë’s novel paid increased attention to the protagonists’ identities as amateur artists. To explain this phenomenon, this article examines Jane Eyre (Franco Zeffirelli, 1996), Jane Eyre (ITV/A&E, 1997), Jane Eyre (BBC, 2006), and Jane Eyre (Cary Fukunaga, 2011). It proposes that these productions contribute to the evolution of Brontë’s authorial mythology by heightening their heroines’ similarities with the writer, another amateur artist. In so doing, these adaptations benefit from the reputations of Brontë and her work as rebelliously feminist. Nevertheless, these women artists’ rebellions are distinctly postfeminist. To demonstrate its argument, the article contextualizes contemporary Jane Eyre adaptations within their postfeminist cultural landscape. Postfeminism, however, is a contested term. Hence, this analysis participates in broader debates that interrogate postfeminism as a concept and its persistent fascination with nineteenth-century creative women. Through comparisons of the adaptations, this article will delineate the development of the woman artist trope to reveal how postfeminist conceptualizations of women’s creativity have shifted since the 1990s. In particular, the woman artist displays an increased desire to ‘return home’. Such retreatist narratives exploit but also obscure the fact that Brontë has long signified the perceived tension between traditional, highly domestic female gender roles and women’s creativity. As such, these postfeminist adaptations have a shaping effect on the myths that continue to circulate about Brontë’s feminism and authorship.
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Tasker, Yvonne. "Vernacular Feminism: Gendered Media Cultures and Historical Perspectives on Postdiscourse." Television & New Media 21, no. 6 (July 26, 2020): 671–75. http://dx.doi.org/10.1177/1527476420922976.
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Although media studies as a discipline has long been involved in various theoretical elaborations of the “post,” it has been concerned far less often with the past that is purportedly posted. In this piece, the concept of postfeminism provides a useful case to highlight how thoughtful engagement with the past has immense value for contemporary media scholarship. I suggest that postfeminist scholarship has typically tackled history only obliquely—via generational tropes—and that a more direct engagement with media history allows an understanding that reaches past the “now” with which postdiscourse tends to concern itself. Patterns of continuity and change have been brought into view through the access to historical media formats facilitated by digital archives. I propose a concept of vernacular feminism as a tool for analyzing historical postfeminism, pointing to the broader relevance for postdiscourses that involve an evocation of the past in the present.
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Sofyan, M. Ali. "ISLAM DAN POSFEMINISME : WAJAH POSFEMINISME DALAM KOMODIFIKASI AGAMA DI MEDIA." Jurnal Sosiologi Reflektif 13, no. 1 (February 27, 2019): 9. http://dx.doi.org/10.14421/jsr.v13i1.1516.
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The relationship between masculine and feminine is collectively constructed. Both narrative and discourse of feminism has long emerged up to the third-wave. As Foucault has been pointed out that feminism itself has constructed discourse on inequality since it departs from patriarchy. Meanwhile, patriarchy has produced a threat even though it is under the pretext of feminism. The term postfeminism is thus arises after feminism, where there are no sources of oppression that originate from patriarchy.In fact, however, the interpretation of religious arguments (Islam in particular) does not subordinate women. But on the contrary, the religious argument actually wants to make women equal to men in the society. This article offers an analysis of the relation between Islam and postfeminism based on the perspective of religious commodification. It was noted that social media played a pivotal role in raising religion to engage on a global scale.Women from the perspective of postfeminism are seen as independent subjects. Freedom, gender equality, and pluralistic representation are the starting points for postfeminist women. Soft Power owned by social media contextualizes religion (Islam) and disseminates ideas including femininity in a new method, where the religious consumption can be enjoyed every second.Indonesian (Muslim) women campaign for gender equality and postfeminism awareness that is free in all things through social media (Instagram and YouTube). This is usually done in various ways such as lectures and fashion. Religious commodification, in this case is seen when religious understanding is capitalized. This perspective finally bringing Muslim women to say that "I am beautiful for myself". Although some argue that capitalizing religion appear to be less precise, when the commodification of religion can support women's freedom.
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Engelbrecht, Janine. "Space Hitler and saint: Star Trek's Emperor Georgion and the slippage between postfeminism and fourth wave feminism." Image & Text, no. 38 (June 11, 2024): 1–20. http://dx.doi.org/10.17159/2617-3255/2024/n38a4.
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One of the most recent Star Trek series, Star Trek: Discovery (2017-present) (DSC), seems self-aware regarding the contradictions inherent in what Star Trek claims to be and what it actually is. In an attempt to realise Gene Roddenberry's vision, DSC includes a far more diverse cast than any Star Trek series before it. As Judith Rauscher (2020:256) suggests, DSC's 'highly diverse cast' combined with its extended Mirror Universe plot 'complicates the representation of female characters of color'. At the same historical moment, a new wave of feminism-the fourth wave-that claims to be acutely aware of diversity, inclusivity, and intersectionality is entering the mainstream. While both Rosalind Gill (2016, 2017) and Nicola Rivers (2017) make convincing cases that we still live within a postfeminist "sensibility", one cannot deny that recently, audiences and producers of popular cultural texts seem to have become aware of the overarching white, heterosexual narrative of postfeminism, and radical changes in terms of representation are taking place. In this paper, I explore how the slippage between postfeminism and fourth wave feminism manifests itself in contemporary representations of women in sci-fi-specifically women of colour in Star Trek. One character from DSC-the Terran Emperor, Phillipa Georgiou - exemplifies the tensions between postfeminist and fourth wave empowerment in terms of her representation and character arc over three seasons.
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Anthony C. Bleach. "Postfeminist Cliques?: Class, Postfeminism, and the Molly Ringwald-John Hughes Films." Cinema Journal 49, no. 3 (2010): 24–44. http://dx.doi.org/10.1353/cj.0.0209.
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Toffoletti, Kim. "Analyzing Media Representations of Sportswomen—Expanding the Conceptual Boundaries Using a Postfeminist Sensibility." Sociology of Sport Journal 33, no. 3 (September 2016): 199–207. http://dx.doi.org/10.1123/ssj.2015-0136.
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This article seeks to expand the conceptual boundaries of sport media research by investigating the utility of a postfeminist sensibility for analyzing depictions of women in sport. Rosalind Gill’s (2007) notion of a postfeminist sensibility is situated within UK-led feminist critiques of gendered neoliberalism in popular culture and offers a conceptual lens through which sports scholars might interrogate the complex and contradictory media landscape that often simultaneously marginalizes and empowers sportswomen. In highlighting postfeminism as a sensibility, this article makes visible the ways in which depictions of sportswomen as sexy and strong reorients responsibility for the sexualization of female athletes away from media institutions and toward the female athlete themselves. It also explains how a postfeminist sensibility differs from third wave feminism—a related framework popular among sports feminists seeking to respond to ambivalent and complex renderings of contemporary sporting femininity.
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Hou, Mingyi. "Beauty Influencers on Short Video Platform Kwai: The Postfeminist Media Culture in Rural China." European Conference on Social Media 9, no. 1 (April 28, 2022): 65–73. http://dx.doi.org/10.34190/ecsm.9.1.146.
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This study explores the postfeminist media culture in rural China. Existing studies mainly focus on subjects of young and single female professionals who work and live in metropolitan areas in China. The cultural symbols and the socioeconomic structure pertaining to urban localities hence become a context for Chinese postfeminism. Responding to a call for opening the postfeminism concept for intersectional and transnational interrogation, this study draws attention to how social media platforms and the state-supported E-commerce industry are complicating the gendered live experiences in rural China. As China’s second-generation social media, the short video platform Kwai (TikTok-like platform) attracts an initial user base from smaller cities and rural areas. Many housewives become beauty influencers on this platform where they film makeup transformation videos and sell beauty products. This digital ethnographic study examines the multimodal discursive features of these videos and explores the influencers’ business model. The findings reveal that the influencer culture manifests postfeminist sensibilities featured with a discourse of duality. Self-fashioning and economic independence are expressed as a remedy for and vigilance towards the failed patriarchal marriage. Rural women are suggested to both adhere to traditional family values and maintain autonomy. The influencers’ business model provides a seeming solution to such a double requirement. Followers are encouraged to join the influencers’ entrepreneur project, however, the multi-level marketing model behind this project only benefits the already established influencers.
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Novkinić, Sandra. "“Women’s Voices in Contemporary Irish Theatre." Anafora 9, no. 1 (2022): 45–61. http://dx.doi.org/10.29162/anafora.v9i1.3.
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The issue of re-establishing the contemporary Irish women playwrights to prominence has gained great attention. Women playwrights feel the need to combat systemic prejudice in the theatre industry, meaning that postfeminists in Ireland are very much present. Although often regarded as a synonym for third-wave feminism, postfeminism has its separate characteristics. One of them is that postfeminism defines equality differently than has been done previously. Equality should not look like androgyny, nor should it be strictly divided based on gender since such a division ignores the human elements of thought, intellect, emotion, and expression. Furthermore, ethical issues in literature have been identified and discussed worldwide for years, not excepting the contemporary Irish theatre. The aim of this paper is to show a notable step towards an increased emphasis on the issue of gender responsibility and solidarity, or lack thereof. The paper also deals with ethical implications and consequences of the ways in which these issues underpin social interactions as well as family and gender relations that Marina Carr and Nancy Harris dramatize in their plays.
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Mendes, Kaitlynn. "‘The lady is a closet feminist!’ Discourses of backlash and postfeminism in British and American newspapers." International Journal of Cultural Studies 14, no. 6 (May 24, 2011): 549–65. http://dx.doi.org/10.1177/1367877911405754.
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This article examines news reports of the second-wave feminist movement during its most active political period (1968–82) in British and American newspapers, and specifically focuses on the ways postfeminist discourses were constructed and deployed. While most accounts of postfeminism relate to American cultural texts from the 1990s to the present day, they ignore (or are unaware of) the ways such discourses were constructed before this, or in different cultural contexts. In this article, I argue that postfeminist discourses are evident throughout the 1970s, during the height of the second-wave feminist movement, and that many of these discourses differed between the countries as a result of unique socio-cultural contexts, and the ways the women’s movements evolved. That postfeminist discourses emerged early on indicates the extent to which patriarchal and capitalist ideologies contested feminist critiques from an early stage, demonstrating that notions of feminism’s eventual illegitimacy and hence its redundancy were not constructed overnight, but took years to achieve hegemony.
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Thurer, Shari L., Ellen Cole, and Jessica Henderson Daniel. "Feminism Meets Postfeminism." American Journal of Psychology 120, no. 3 (October 1, 2007): 502. http://dx.doi.org/10.2307/20445417.
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Bates, Trudy. "Postfeminism and organization." Labour & Industry: a journal of the social and economic relations of work 29, no. 2 (March 28, 2019): 230–33. http://dx.doi.org/10.1080/10301763.2019.1597416.
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Rogers, Anna Backman. "And That I See a Darkness: The Stardom of Kirsten Dunst in Collaboration with Sofia Coppola in Three Images." Film-Philosophy 23, no. 2 (June 2019): 114–36. http://dx.doi.org/10.3366/film.2019.0105.
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Sofia Coppola and Kirsten Dunst share a long-standing collaboration that has lasted from Dunst's adolescence onwards and into mature womanhood. As a former child star, Dunst has grown up in front of Coppola's camera and has come to be closely associated with the director's rarefied and highly aestheticised cinematic world. I have argued elsewhere that a cardinal and abiding concern of Coppola's oeuvre is how images come to be collectively and culturally understood; moreover, Coppola is especially concerned with how the (en)gendering of an image can either open up or foreclose sites of contestation. Coppola is positioned in contrast to readings of her work as strictly postfeminist. I argue that Coppola's work is postfeminist to the extent that it exhibits an indebtedness to, in particular, second wave feminism, but I also contend that Coppola is concerned with critiquing the mores and norms of postfeminism from a resolutely feminist perspective
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Harrod, Mary. "Nostalgia, Melancholy, Trauma: Backlash Postfeminism in Contemporary French Screen Romance." Nottingham French Studies 61, no. 3 (December 2022): 208–26. http://dx.doi.org/10.3366/nfs.2022.0356.
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This article draws on Diane Negra’s (2009) assessment of neo-global postfeminist popular culture and cinema as displaying an obsession with time-control that is largely inimical to feminist progress, arguing that similar currents are visible in 2010s French screen romances. While manifestations of this obsession with relevance for the contemporary French context range from celebrations of ritualized, time-sensitive milestones (marriage, pregnancy) to narratives of female professional retreatism in the face of ‘time-poverty’ or the expansion of sexualized female identities across ages, this article focuses in depth on themes of actual or symbolic historical reversion in the intimate sphere through a close analysis of the films Camille redouble (Noémie Lvovsky, 2012) and Un peu, beaucoup, aveuglément (Clovis Cornillac, 2015). After surveying other cognate fictions, the discussion demonstrates that both these films reflect a wider backdrop of time-related trauma informing contemporary French onscreen romance and are accordingly melancholic, as well as openly nostalgic, in theme and tone. The article interrogates the backlash aspects of such narratives but also the different resonances associated with regressive ‘postfeminist’ elements in French as opposed to American culture. It thus demonstrates that postfeminism bears a specific relationship to the distinctive past history comprised by local feminist movements and intersects with other Gallic customs and ideologies – notably nationalistic ones – in particular ways.
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Leonard, S. "Chick Lit and Postfeminism." Contemporary Women's Writing 6, no. 1 (December 8, 2011): 79–81. http://dx.doi.org/10.1093/cww/vpr028.
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Lewis, Patricia, Yvonne Benschop, and Ruth Simpson. "Postfeminism, Gender and Organization." Gender, Work & Organization 24, no. 3 (April 5, 2017): 213–25. http://dx.doi.org/10.1111/gwao.12175.
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Kissling, Elizabeth Arveda. "Pills, Periods, and Postfeminism." Feminist Media Studies 13, no. 3 (July 2013): 490–504. http://dx.doi.org/10.1080/14680777.2012.712373.
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Hall, Elaine J., and Marnie Salupo Rodriguez. "The Myth of Postfeminism." Gender & Society 17, no. 6 (December 2003): 878–902. http://dx.doi.org/10.1177/0891243203257639.
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Budgeon, Shelley, and Dawn H. Currie. "From feminism to postfeminism." Women's Studies International Forum 18, no. 2 (March 1995): 173–86. http://dx.doi.org/10.1016/0277-5395(95)80053-r.
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Banet-Weiser, Sarah. "Postfeminism and Popular Feminism." Feminist Media Histories 4, no. 2 (2018): 152–56. http://dx.doi.org/10.1525/fmh.2018.4.2.152.
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Paulsen Mulvey, Alora. "“Celebrate your bloom story”." Stream: Interdisciplinary Journal of Communication 11, no. 1 (March 19, 2019): 3–20. http://dx.doi.org/10.21810/strm.v11i1.263.
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Using 27-year-old Canadian beauty blogger Estée Lalonde as a site of automedia analysis (Maguire 2015), this paper argues that through the enactment of domestic femininity in the public sphere, social media influencers embody postfeminist ideals of individual empowerment while selling their branded selves through networked intimacy (Abidin 2015; Gill, 2016). Methodologically, I approach the case study with an understanding of the intersection between online platforms of the intersection between online platforms, life writing, and constructions of the self. Using cross-promotion, scheduled posts, and self-branding, influencers create a cohesive branded self, emphasizing perceived authenticity and a sense of community among followers. The exercise of self-branding is used to gain cultural and material capital (Hearn, 2008). Understanding postfeminism as an analytical lens through which we can problematize media texts (Gill, 2016), I argue that influencer marketing privileges a one-dimensional, postfeminist representation of an empowered young woman following her life’s passion (Duffy & Hund, 2015).
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Ahl, Helene, and Susan Marlow. "Exploring the false promise of entrepreneurship through a postfeminist critique of the enterprise policy discourse in Sweden and the UK." Human Relations 74, no. 1 (May 19, 2019): 41–68. http://dx.doi.org/10.1177/0018726719848480.
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Contemporary theories of neoliberalism and entrepreneurship are entwined; both hinge upon the use of agency within free markets to realise individual potential, enhance status and attain material rewards. Postfeminism, as a discrete but related discourse, suggests this context is conducive to encouraging women to draw upon their agency, skills and personal profile to enhance achievements and returns. We draw from these related, but discrete discourses, when critically analysing how postfeminist assumptions shape Swedish and UK government policies aimed at expanding women’s entrepreneurship. Despite differing historical antecedents regarding state engagement with equality and welfare regimes, we illustrate how postfeminist assumptions have infiltrated policy initiatives in both cases. This infiltration has, we suggest, suppressed criticisms that in a context of persistent structural discrimination, lack of welfare benefits and contrived aspirational role models, entrepreneurship constitutes a poor career choice for many women. Consequently, we challenge the value of contemporary policy initiatives encouraging more women to enter entrepreneurship.
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Wolfman, Greg. "“Exfoliation, Cheese Courses, Emotional Honesty, and Paxil”." Journal of Bodies, Sexualities, and Masculinities 2, no. 2 (September 1, 2021): 57–81. http://dx.doi.org/10.3167/jbsm.2021.020205.
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This article applies a conjunctural analysis to four US “hangout sitcoms”—Friends, How I Met Your Mother, The Big Bang Theory, and New Girl—to examine the tensions faced by masculinities in a neoliberal era. After establishing the “hangout sitcom” subgenre, I use critical discourse analysis to unpack three male subject positions. The postfeminist male singleton reacts neurotically to a perceived loss of power with a desperate search for true love. The douchebag responds with excessive performances of both masculinity and neoliberal subjectivity, while the househusband’s stable job and long-term heterosexual relationship reflect neoliberalism’s relationships with intimacy and the family. I argue that the hangout sitcom, and specifically its representation of masculinities, offers an under-explored opportunity to examine the politics of masculinities, postfeminism, and neoliberalism.
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Dr. Shahid Abbas, Dr. Ijaz Asghar, and Qamar Hussain. "Analyzing George Bernard Shaw’s Portrayal of Women in the Light of Postfeminist Theory." sjesr 4, no. 2 (July 3, 2021): 438–43. http://dx.doi.org/10.36902/sjesr-vol4-iss2-2021(438-443).
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The paper aims at investigating the critical opinions about Bernard Shaw’s ambivalent relation to feminism. In this regard, the researchers highlight the emerging role of postfeminism and its overlapping elements with the Islamic portrayal of womanhood. Shaw differs from his predecessors drastically – he portrays independent female characters as compared to the invisible and submissive females of the past. Thus, one of the striking features of Shaw’s drama is the depiction of liberated women. The Shavian women do not consider men folk as their rivals. There is a shift from powerless to empowered women in academia. The researchers find out that there is an ideological conflict between feminism and Islam but as far as postfeminism is concerned, there is none. Rather, postfeminism propagates and supports the Islamic concept of womanhood thoroughly. It is also worth noting that feminist ideas and ideology have greatly dented the social and political fabric of mankind and human civilization in general. Whereas, postfeminism propagates in favor of maintaining a balanced position for womanhood in life which is a balance between social and individual life, and a balance between professional and family life. The purpose of this article is to promote a better understanding of the status of women in Islam and its overlapping and common areas with postfeminism, that is, God has equated female folk at par with their male folk. The research is significant as it challenges the western notion of women in Islam and dispels the erroneous notions of suppression of women in Islam. The prime finding of this research is that postfeminism proclaims equal footing for men and women in life, as enshrined in the Holy Quran. Further, the researchers lament that just because of myopic-minded people, the world is not making any progress intellectually. The researchers recommend that there is a dire need to promote liberal intellectuals like Shaw who harbor no bias against Islam and Muslims to maintain peace and order in the world.
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Ferree, Myra Marx, and Nancy F. Cott. "Postfeminism and the "New" Woman." Contemporary Sociology 18, no. 1 (January 1989): 16. http://dx.doi.org/10.2307/2071902.
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Ashby, Justine. "Postfeminism in the British Frame." Cinema Journal 44, no. 2 (2005): 127–32. http://dx.doi.org/10.1353/cj.2005.0002.
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Holmlund, Chris. "Postfeminism from A to G." Cinema Journal 44, no. 2 (2005): 116–21. http://dx.doi.org/10.1353/cj.2005.0008.
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Barros del Río, María Amor. "Irish Youth, Materialism and Postfeminism: The Critique behind the Romance in "Normal People"." Oceánide 15 (February 8, 2022): 73–80. http://dx.doi.org/10.37668/oceanide.v15i.98.
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Normal People, the TV series, aired in Ireland during the pandemic lockdown in spring 2020 and became an instant hit. This romantic drama, based on Sally Rooney’s acclaimed novel, offers an updated representation of the tensions inherent in the process of growing up for Irish youth, a context extensive to other Western countries. The aim of this article is to explore the critique behind the romance through an in-depth interpretation of the protagonists’ problematic process of coming-of-age. For this purpose, the dramatic aspects of this cinematic narrative are explored in terms of composition, narration and focalization. Under the critical lens of postfeminism, this article analyses how psychological violence and explicit and rough sex are used in the series as forms of (mis)communication, with a particular interest in the combination of camera work, dialogues and silences. Finally, this article assesses to what extent Normal People naturalizes mundane life and succeeds in adhering to the romantic plot within the frame of neoliberal and postfeminist values.
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S. V, Dr Karthiga, and Dr Soundarya K. R. "New Dimensions in Literature ? Postfeminism & Psychoanalytic Feminism." International Journal of Research in Arts and Science 5, Special Issue (August 30, 2019): 44–51. http://dx.doi.org/10.9756/bp2019.1002/04.
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Tsaousi, Christiana. "How to organise your body 101: postfeminism and the (re)construction of the female body through How to Look Good Naked." Media, Culture & Society 39, no. 2 (July 9, 2016): 145–58. http://dx.doi.org/10.1177/0163443715608258.
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The aim of this article is to highlight the attention given by recent makeover shows, and specifically How to Look Good Naked, to the ‘underneath’ as a way of (re)organising the female body. I examine whether this ‘turn’ or change in media’s direction is an appreciation of the real female body (an unmodified body) or whether this is a mere (re-)organisation of the body into a controllable base of overall appearance and a further embedding of Western conceptions of beauty and of the notion that the manipulation of appearance is essential to the construction of the feminine identity and to the measure of women’s social worth. Informed by postfeminist discourse and critique, I analyse the British reality makeover television show How to Look Good Naked, discuss the extent to which it actually provides an alternative to prevailing cultural discourses around feminine beauty and scrutinise the impact that it seems to have on the identities of the women who participate. I analyse how the show, as the ultimate postfeminist show, inscribes gendered identities and practices, and I examine how postfeminism has created spaces for such shows to exist and affirm hegemonic gender constructions based on consumption practices.
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Rome, Alexandra S., and Aliette Lambert. "(Wo)men on top? Postfeminist contradictions in young women’s sexual narratives." Marketing Theory 20, no. 4 (June 1, 2020): 501–25. http://dx.doi.org/10.1177/1470593120926240.
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Feminized sexual consumption has gained increasing legitimacy in the marketplace. Despite calls for critical, feminist perspectives, extant research in marketing continues to prioritize its emancipatory implications. In this article, we draw on the cultural theory of “postfeminism” to critically analyze the sexual narratives of young women. Tightly bound with neoliberal ethics, a postfeminist orientation encourages women—purported to have achieved equality thanks to past feminist activism—to work on, invest in, and manage their sexual lives. This discourse manifests in women’s sexual and intimate experiences in two key ways: first, through their attempts to establish authority and control in their relationships, an endeavor thwarted by neoliberal and patriarchal logics; and second, through an implicit submissive sexual positioning that privileges masculine meanings of sexual pleasure. These findings suggest an inherent contradiction between participants’ understanding of themselves as free, able, and equal, and the constraining, subjugating experiences shaping their relationships and (sexual) lives. Our key contribution to feminist critique and theorizing is to illustrate how postfeminist discourses operate to mask and deny oppressive patriarchal discourses, which paradoxically increases their strength under the guise of female emancipation and consumer choice.
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Lewis, Patricia. "Postfeminism, Femininities and Organization Studies: Exploring a New Agenda." Organization Studies 35, no. 12 (August 19, 2014): 1845–66. http://dx.doi.org/10.1177/0170840614539315.
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The purpose of this article is to mobilize postfeminism as a critical concept for exploring women’s contemporary organizational experience. Specifically, it is argued that rather than interpreting women’s position in organizations solely in terms of exclusion connected to a dominant masculine norm, critically deploying the concept of postfeminism facilitates a critique of how women and a reconfigured femininity are now being included in the contemporary workplace. As the focus of the paper is the connection between postfeminism as a cultural phenomenon and the emergence of feminine organizational subjectivities, the construction of feminine subjectivities in the entrepreneurial arena (referred to as entrepreneurial femininities) is presented through a reading of the gender and entrepreneurship literature. Four entrepreneurial femininities are depicted—individualized, maternal, relational, excessive—with one key characteristic being the way in which they are all constituted through the doing of both masculinity and femininity via the integration and embodiment of conventional feminine and masculine aspirations and behaviours.
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Adhitya, Galant Nanta, and Nadia Lasari. "DESIRING DOMINATION: A POSTFEMINIST STUDY ON THE LYRICS OF LANA DEL REY’S ULTRAVIOLENCE ALBUM." Rubikon : Journal of Transnational American Studies 6, no. 1 (November 21, 2020): 34. http://dx.doi.org/10.22146/rubikon.v6i1.61488.
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Feminist movements are said to have served their purposes and achieved equality, empowerment, and emancipation for women. America thus enters the era of postfeminism. A redefined image of independent and free-spirited yet feminine women is brought through popular cultural products, creating a shift in the view of 21st century American women, one of which can be seen from their response toward male domination. It is expressed in the lyrics of songs compiled in Lana Del Rey’s Ultraviolence album. This study employs descriptive qualitative method by treating the lyrics with the same approach as poetry. The data are in the form of language features, such as words, phrases, clauses, lines, and verses related to women’s response to male domination. McRobbie’s notion of double entanglement allows this study to borrow the feminist concept of male domination. There are five male dominating conducts found in the lyrics: 1) marginalization in “Sad Girl”; 2) subordination in “Shades of Cool”, 3) stereotype in “The Other Woman”; 4) physical and psychological violence in “Ultraviolence”, sexual violence in “Fucked My Way Up to the Top”; 5) domestic workload in “Old Money”. Meanwhile, the women’s response toward male domination is expressed in “Brooklyn Baby”. The progressive postfeminists approach male domination differently from the conservative feminists. The female speaker of the lyrics comprehend that her men’s conducts are dominating her, yet she receives them with a manner full of desire. For her, every relationship has the luxury to define their own rules as long as there is a consensual agreement from both parties involved.Keywords: domination; lyrics; postfeminism; postnational; women
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Sullivan, Katie Rose, and Helen Delaney. "A femininity that ‘giveth and taketh away’: The prosperity gospel and postfeminism in the neoliberal economy." Human Relations 70, no. 7 (November 21, 2016): 836–59. http://dx.doi.org/10.1177/0018726716676322.
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This article explores how postfeminist and prosperity gospel discourses intersect in an organizational context to produce a particular ideal of feminine subjectivity that reproduces a neoliberal agenda. We focus on narratives written by female national vice presidents in a multi-national network marketing organization headquartered in America. Network marketing tends to attract a vast number of women who are enticed by grand messages of material and spiritual riches; however, such messages are often at odds with the precarious and uncertain working conditions. We contribute to gender and organization scholarship by introducing the concept of evangelical entrepreneurial femininity to explore the tensions and demands that are placed on women in an organizational context where postfeminism and prosperity gospel discourses intersect. In doing so, we question the expectations and constraints that many working women negotiate in this neoliberal age of alleged ‘freedom’ and ‘equality,’ and raise a number of concerns for feminist critique.
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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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Meenagh, Joni. "Breaking up and hooking up: A young woman’s experience of “sexual empowerment”." Feminism & Psychology 27, no. 4 (September 29, 2017): 447–64. http://dx.doi.org/10.1177/0959353517731434.
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With the rise of neoliberalism, postfeminism and “hookup culture,” young women face both challenges and opportunities when constructing themselves as sexual subjects. This paper explores the experiences of a young woman who sought to have sex with someone new in order to move on from the breakup of a long-term relationship. This case study is part of a larger project which explored how young people (aged 18–25) negotiate their love/sex relationships within the context of new media environments. While this young woman described her experience of having sex with someone new as “empowering,” within a neoliberal, postfeminist context the concept of empowerment may not be a useful theoretical tool for understanding young women’s sexuality. Situating her story within its broader sociocultural context, this paper explores how structural factors shape this young woman’s ability to navigate normative discourses about sexual empowerment and construct herself as a sexual subject.
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Li, Xiaomeng. "How powerful is the female gaze? The implication of using male celebrities for promoting female cosmetics in China." Global Media and China 5, no. 1 (January 23, 2020): 55–68. http://dx.doi.org/10.1177/2059436419899166.
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In some East Asian countries like Japan, South Korea, and recently, China, there is a popular trend of having male celebrities as brand ambassadors or spokespeople for female cosmetics. This study is situated in the contemporary Chinese market and examines the so-called “Nan Se consumption (nan se xiao fei, 男色消费)” culture, which literally translates into “the consumption of sexualized men” in Chinese. Referring to postfeminism that focuses on female agency and the subjectivity of the female body, this article argues that the shift from “male gaze” to “female gaze,” and the consumption of sexualized men, appear to be revolutionary in terms of evaluating gender power; however, Chinese female consumers’ agency and self-empowerment are still limited by a conditioned neoliberal consumerist culture. The study also proposes that China’s contested “Nan Se consumption” culture reflects the complexity and fluidity of today’s postfeminist theorization.
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Cho, Kyung-hee. "#MeToo Movement and Postfeminism in Japan." Feminism and Korean Literature 47 (August 30, 2019): 87–118. http://dx.doi.org/10.15686/fkl.47.0.3.
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Barker, Meg. "New femininities: postfeminism, neoliberalism and subjectivity." Psychology and Sexuality 4, no. 3 (September 2013): 323–25. http://dx.doi.org/10.1080/19419899.2011.639147.
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