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.
|Published (Last):||18 May 2012|
|PDF File Size:||14.44 Mb|
|ePub File Size:||14.2 Mb|
|Price:||Free* [*Free Regsitration Required]|
Overall the book outlines key tensions in the presence of post-feminist popular culture in a western socio-political climate to produce an engaging and accessible text essential for the cultural studies classroom, girl studies scholars and personal bookshelf.
Personally I found myself taking sharp in-breaths as McRobbie spun out an increasing sense of loss, pessimism, and lack of confidence in new generations of young women.
This then is the legacy of post-feminism and female individualisation process, that there are spaces mrobbie the top girls to become elite women who may not be completely averse now to calling themselves feminists. The prevailing use of irony seemed to exonerate the culprits from the crime of offending against ange,a was caricatured as a kind of extreme, and usually man-hating feminism, anf at the same mceobbie acknowledging cultture other, more acceptable, forms of feminism, had by now ,crobbie into the realms of common sense and were broadly acceptable.
Gender, Culture, and Social Change. What changes in the new neo-liberal era as it was embarked upon by the New Labour government was a joining of forces across the media and political life which had the effect of intervening in the space where previously feminism may have done its work, and substituting, in a pre-emptive manner, so that young women in particular become the object of intense attention.
She is not alone in the cohort of young women who have emerged within the Conservative Party whose upper middle-class background along with an Oxbridge education makes them exemplars of female capacity.
Here we run into the problem of how to avoid an analysis which simply focuses, in a rather mechanical way, on the pstfeminism of the press and media and its obligations or not to government, including, in this case, the nominally leftist government of the Cultuer decade.
This allows 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”.
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 cullture. I have referred to this phenomenon as a form of symbolic power which can be understood as post-feminist.
Reading, Resisting, and Creating Media. 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.
There is nothing in her argument which documents the sustained attack on feminism and feminists which is also a defining feature of neoliberalism.
As long as she did not become a single mother who would be reliant mmcrobbie welfare she could gain access to sexual pleasures which in the past had always been the privilege of men hence the new female market for soft pornography and the growth of so-called porn chic.
They were to be encouraged at achieve in school, at university and in the world of work and in each of these spheres they could rightly mcrobbje norms of gender equality to prevail.
Cultural Reader: Angela McRobbie – “Post Feminism and Popular Culture” – summary and review
Its distinctive feature is that it upholds the principles of gender equality, while denigrating the figure of the feminist. 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. From Jackie to Just 17McRobbie constructed a progressive cultural shift that reflected gains in new sexual freedoms and power for cmrobbie women.
It culturr through the intersections of popular and political culture that ;ostfeminism was undone and, hey presto, was instead replaced by a prevailing, even triumphant, discourse of female individualism informed by a veneer of feminist principles and buzz words such as female empowerment or A1 girls etc which could then quite easily be set to work as part of an emerging new capitalist or neo-liberal agenda, this time directly addressed to, indeed customised for, young women.
While such an event may be interpreted as supportive and positive we need to dig deeper below the surface to understand what could be at stake in this kind of concern for young women and their body anxiety?
This is a currently emerging phenomenon, hence my tentative tone. Fraser sees unwitting mcroobbie on the part of feminism here which, she argues, not uncontroversially, had by the time at which neoliberalism was poztfeminism the ascendant, subordinated or suspended? This is merely to set one powerful apparatus alongside another, each with angea agenda which may or may not coincide. This concerns the UK Coalition government. The young woman could also expect as a result of her hard working outlook and capacity also to gain some tangible sexual freedoms in the form of access to leisure culture, to a sex life which need not be tied to marriage and having children, and to a climate where the sexual double standard was to be removed so that the young woman could heartily enjoy sexuality with impunity, indeed she could also now get drunk, and even behave badly within certain limits as Bridget Jones tumbles out of taxis onto the street after a long night in the wine bar.
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.
In Feminism and Youth Culture: What was omitted was encouragement to a more active form of political participation.
Some of these popular culture depictions of modern women use their freedom to chose in adopting female behavioral patterns which feminism tried to abolish. Works Cited Driver, Susan. Consisting of six chapters, McRobbie articulates postfemnism interconnected arguments in her exploration of contemporary operations of gender, power and popular culture.
Political Culture, Popular Culture and Young Women The scale of this undertaking, a re-making of modern young womanhood so as to suggest that feminism has indeed been taken into account, required the active participation of the media and popular culture. For McRobbie, contemporary mcrobnie culture expresses what has been termed “post feminism”.
However I am already reading more gender dynamics into this work than are actually present, they are perhaps at best implicit. There are changes here which suggest the forging of a more explicit conjoining of neo-liberal policies, if not with feminism, then with an idea of modern womanhood.
Gender and the Politics of Popular Culture. Anchored in consumption as a strategy and leisure as a site for the production of the self, postfeminist mass media assumes that the pleasures and lifestyles with which it is associated are somehow universally shared and, perhaps more significantly, universally accessible.
Post-Feminism and Beyond Angela Mcrobbie – MOCAK
Government would at that time provide culturs and incentives to do well, to gain high qualifications and to aim for the financial independence of the monthly salary. These images appeared, in 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.
From Jackie to Just It would be possible to extend their argument to include some of the critiques provided by second-wave feminism.
So skilful with the use of postmodern irony was the image, that it also sought to produce a kind of generational divide, the younger female viewer is culturee made angry, unlike her older counterpart. The world of media imagery and the politics of meaning are deeply and inextricably connected to and part of the wider political economy.
Date Event Published. Newer Post Older Post Home. Poatfeminism who are exceptions to this rule are somehow abnormal.