POST-FEMINISM AND POPULAR CULTURE Angela McRobbie Downloaded by [Tomsk State University Tul’skii gosudarstvennyi universitet] at 15 March. KEYWORDS girl power, individualism, popular feminism, postfeminism . Angela McRobbie, “Post-Feminism and Popular Culture,” Feminist Media Studies. Post-Feminism and Beyond Angela Mcrobbie . It was through the intersections of popular and political culture that feminism was undone and, hey presto, was.
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We might ponder how and why this has happened. During the Blair years political life was increasingly linked with the pursuit of a narrow professional career in Westminster, best left to those few for whom this was a life-choice.
I would make the case that the re-contouring of contemporary young womanhood as having benefited from the struggle for gender equality marks out the horizon of a more profound hegemonic process. Ppopular Post Older Post Home. Like myself Fraser recognises aand western feminism, in a popular vein, had entered into everyday life especially around a set of values which appeared to challenge and contest visible inequalities and injustices.
The world of media imagery and the politics of meaning are deeply and inextricably angella to and part of the wider political economy. Thank goodness, the image seemed to suggest, we can now, once again, enjoy looking at the bodies of beautiful women with impunity. Aftermath is not based on empirical fieldwork but consists of an innovative theoretical synthesis; McRobbie performs a comprehensive theoretical backtrack to explore the loss of a feminist subject in British popular culture now entrenched in a post-feminist neo-liberal capitalist global economy.
Feminism is associated with the past and with old and unglamorous women Germaine Greer in the UK, Alice Schwartzer in Germany and this encourages a dis-identification with feminism on the part of young women. This could be seen in recent months on the public debate this time undertaken by David Cameron which tackled the subject of the anx of childhood and the ranges of fashion and beauty products targeted at small girls often under the age of 5.
These images appeared, mcrobbke a celebratory fashion, to reverse the clock, turning it back to some earlier pre-feminist moment, while at the same time doing so in a rather tongue-in-cheek kind of way. In terms of scholarship on queer and feminist cultural negotiations the work of Susan Driver and Mary Celeste Kearney offer other productive ways of thinking about how girls mcrlbbie young women can actively resist and rework dominant cultural mcronbie to produce other ways of becoming intelligible subjects that disrupt heterosexist logics.
But if we extend their argument it would be possible to suggest that some of the successes of feminism translated into sngela and the state being forced here to compromise and grant concessions which had the overall effect of permitting women more protection and security in regards to rights and entitlements and also legitimacy in their move into work and employment.
Mobile app Plan your visit to the Museum, check out current events and visit our exhibitions with our Mobile App. My focus of interest in The Aftermath of Feminism was in what I termed a new sexual contract. Since then this new kind of sophisticated anti-feminism has become a recurring feature across the landscape of both popular and also political culture.
This is merely to set one powerful apparatus alongside another, cultur with an agenda which may or may not coincide. The prevailing use of irony seemed to exonerate the culprits from the crime of offending against what was caricatured as a kind of extreme, and usually man-hating postfeminim, while at the same time acknowledging that other, more acceptable, forms of feminism, had by now entered into the realms of common sense and were broadly acceptable.
As a scholar of queer feminist sub cultural resistance in contemporary Britain, the lack of empirical attention to the voices and experiences of young women who explicitly identify with feminism, collective radical politics and non-heterosexual lifestyles — evident in riot grrrl and Ladyfest — highlighted the partiality of Aftermath. This concerns the UK Coalition government. This new regime of gender power requires the consent and participation of young women in the rejection of feminism.
Then, when things go a bit too far government will step back in to pull the free market forces back into line. Remember that you can manage the cookies yourself by changing the settings on your browser.
Media and Communications Dates: In each case, though with different inflections, feminism could be seen as having forced some concessionary response on the part of the status quo and the dominant social groups in society or the patriarchy. There is nothing new about casting the feminist or indeed the lesbian as the arch-villain whose anger and hostility stems from some personal inadequacy.
This then is the legacy of post-feminism and female individualisation process, that there are spaces for the top girls to become elite women who may not be completely averse now to calling themselves feminists.
McRobbie dismisses the potential of subcultures that are constantly threatened by corporate co-optation: However I am already reading more gender dynamics into this work than are actually present, they are perhaps at best implicit.
What was omitted was encouragement to a more active form of political participation.
What once may have had some role to play on the historical stage, is now no longer needed. They were to be encouraged at achieve in school, at university ,crobbie in the world of work and in each of these spheres they could rightly expect norms of gender equality to prevail.
But so far removed are they from ordinary women, especially those now losing their jobs across the public sector, that they may as well be film stars or celebrities.
This cultrue popular culture to portray female characters which lead an independent, equal and free lifestyle a good recent example is of course “Sex and the City”. When relating to post feminism in the context of popular culture McRobbie denies the view on post feminism as a conservative reaction to the achievements of feminism.
Post-Feminism and Beyond Angela Mcrobbie – MOCAK
This is a currently emerging phenomenon, hence my tentative tone. I would prefer to re-cast this debate about the recent and current status of women in terms of what Foucault famously calls day-to-day governmentality, rather than focus on the meta-structures populxr capital and labour.
Duke University Press, pp. Here we run into the problem of how to avoid an analysis which simply focuses, in a rather mechanical way, on the power of the press and media and its obligations or not to government, including, in this case, the nominally leftist government of the Blair decade.
The second part of Angela McRobbie’s “Post Feminism and Popular Culture” uses her critical agenda in analyzing the film “The Bridget Jones Diary” in a manner that illustrates her argument that post feminism is shaping the way women are portrayed in recent popular culture.