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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Post-Feminism and Beyond Angela Mcrobbie – MOCAK
This new regime of gender power requires the consent and participation of young women in the rejection of feminism. Feminism and Youth Culture: As long as she did not become a single mother who would be reliant on 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. However I am already reading more gender dynamics into this work than are actually present, they are perhaps at best implicit.
Let me conclude this update on the question of post-feminism with one final point. This is a currently emerging phenomenon, hence my tentative tone. While such an event may be culturs as supportive and positive we need to dig deeper below the surface cultre understand what could be at stake in this kind of concern for young women and their body anxiety?
Cultural Reader: Angela McRobbie – “Post Feminism and Popular Culture” – summary and review
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. 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.
Works Cited Driver, Susan.
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.
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. 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.
Fraser sees unwitting collusion on the part of feminism here which, she argues, not uncontroversially, had by the time at which neoliberalism was on the ascendant, subordinated or suspended? Gender, Culture, and Social Change. 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.
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. Under this new gender regime the subjectivities of young women are defined and described in a repetitive manner in popular and political discourses along the lines of female individualisation.
Its distinctive feature is that it upholds the principles of gender equality, while denigrating the figure of the feminist.
This granting of some degree of freedom or capacity to women, and with this the idea that western women are nowadays liberated from tradition, becomes, at the same time, amgela means and the measure of a new form of capture or control. It would be possible to extend their argument to include some of the critiques provided by second-wave feminism.
Queer Girls and Popular Culture: 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.
Indeed it is a mark of their cultural intelligibility as young women that they renounce or disavow the need for a new sexual politics. Across the spectrum of European politics it is the small super-league of polished, professional women who gain prominence from their prestigious jobs.
Government would at that time provide supports and incentives to do well, to gain high qualifications and to aim for the financial independence of the monthly salary.
Diane Negra and Yvonne Taskereds. Once again McRobbie has emerged as a confident feminist scholar of gender and culture, unafraid of making theoretical U-turns and taking risks. 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.
She makes it sound as though there was simply a convergence even a seemingly fortuitous liaison.
There is a double entanglement, across the socio-political universe as feminism is taken into account, in order that it can be understood as having passed away. Reading, Resisting, and Creating Media.
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.
This is merely to set one powerful apparatus alongside another, each with an agenda which may or may not coincide. The feminist movement did indeed force open the gates to employment and wage earning capacity for women mctobbie the boundaries of class and ethnicity as never before in recent history.
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 culturf It was through the intersections of popular and political culture that feminism 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 amd to work as part of an emerging new capitalist or neo-liberal agenda, this time directly addressed to, indeed customised for, young women.
From Jackie to Just 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 broadly acceptable.
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.
Post Feminism and Popular Culture: