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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Essays by feminist film, media, and literature scholars based in the United States and United Kingdom provide an array of perspectives on the social and political implications of postfeminism. Anchored in consumption as a strategy and leisure as a site for the production of the self, postfeminist mass agnela 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
In “Post Feminism and Popular Culture” Feminist Media Studies 4, feminist cultural researcher Angela McRobbie argues that popular culture during the 9o’s is characterized by a set back from the achievements of the feminist movement. The work of the Operaismo writers would presumably make a similar case for women though they pay little or no attention to gender in their writing. From Jackie to Just 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.
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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 not made angry, unlike her older counterpart.
What was omitted was encouragement to a more active form of political participation. 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.
However apart from implicitly posfeminism the so-called cultural feminists with whom she has already been in critical dialogue, especially Judith Butler, Fraser underplays the way in which capitalism sought to undo feminism.
Works Cited Driver, Susan. Mcrbbie Post Older Post Home. Then, when things go a bit too far government will step back in to pull the free market forces back into line. Aftermath is not based on empirical kcrobbie 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.
This could be seen in recent months on the public debate this time undertaken by David Cameron which tackled the subject of the sexualisation of childhood and the ranges of fashion and beauty products targeted at small girls often under the age of 5.
The second part of Angela McRobbie’s clture Feminism and Popular Culture” uses her critical agenda mcfobbie 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. The argument I proposed in The Aftermath of Feminism was that within the passage to a new form of neo-liberal governmentality, young women came to occupy a key position, indeed they became exemplary subjects McRobbie There is nothing new about casting populra feminist or indeed the lesbian as the arch-villain whose anger and hostility stems from some personal inadequacy.
Looked at in this broadly Foucauldian manner we can see the emergence of similar mobilising vocabularies and clusters of expressions and ideas.
This permits a replacement for feminism through stressing not collectivity or the concerns of women per se, but rather competition, ambition, the meritocracy, self-help, and the rise of the Alpha Girl much loved by the Daily Mail.
For McRobbie, contemporary popular culture expresses what has been termed “post feminism”. From Jackie to Just 17McRobbie constructed a progressive cultural shift that reflected gains in new sexual freedoms and power for young women. 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 makes it sound as though there was simply a convergence even a seemingly fortuitous liaison. Across the spectrum of European politics it is the small super-league of polished, professional women who gain prominence from their prestigious jobs.
Cultural Reader: Angela McRobbie – “Post Feminism and Popular Culture” – summary and review
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 and young women can actively resist and rework dominant cultural meanings to produce other ways of becoming intelligible subjects that disrupt heterosexist logics.
Julia Downes, University of Leeds. 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 postfemlnism the patriarchy.
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. 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 feminism, 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 postfeminim acceptable.
Under this new gender regime the subjectivities of young mcrobbje are defined and described in cultjre repetitive manner in popular and political discourses along the lines mcrobie female individualisation. Like myself Fraser recognises that 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.
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. Duke University Press, pp. 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.
Postfemknism 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. But so far removed are they from ordinary women, especially those now losing their jobs across the public sector, postceminism they may as well be film stars or celebrities.
I have referred to this phenomenon as a form of symbolic power which can be understood as post-feminist. Political Postfeminis, 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.