‘Feminism? That’s So Seventies’: Girls and Young Women Discuss Femininity and Feminism in America’s Next Top Model

Press, Andrea L.

doi:10.1057/9780230294523_8

Cited by 34 publications

(16 citation statements)

References 18 publications

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“…This context of interactive reception is visible in entertainment formats such as reality television (Roberts 2007, Ringrose and Walkerdine 2008, McRobbie 2009, Ouellette 2009, Tincknell 2011, Skeggs and Wood 2013 and the tabloid magazine (Holmes and Negra 2008), in which audiences are invited to police and evaluate the feminine worth of celebrities and those seeking celebrity. Those who fail to observe the markers of successful postfeminist femininityslim, white, youthful standards of beauty; the 'work/life' balance; or possessing a faithful, heterosexual partnerare offered up for the audience's disciplinary viewing pleasure (see, for example, Press 2011, Watkins Fisher 2011, Skeggs and Wood 2013. I underline that it is not simply achieving success in these domains but doing it 'authentically' that counts.…”

Section: The Intersections Of Postfeminism Celebrity and Authenticitymentioning

confidence: 99%

Jennifer Lawrence, remixed: approaching celebrity through DIY digital culture

Kanai

2015

Celebrity Studies

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remixed: approaching celebrity through DIY digital culture Akane Kanai To cite this article: Akane Kanai (2015) Jennifer Lawrence, remixed: approaching celebrity through DIY digital culture, Celebrity Studies, 6:3, 322-340,This article seeks to interrogate the relationship between two gendered aspects of celebrity: the way in which female celebrities are used to determine normative femininity in a postfeminist regulatory environment, and the way their audiences are primarily imagined as young and female. I aim to consider the intersections of this relationship by conducting an analysis of the discursive and affective practices of a feminine digital public where displays of digitally remixed culture are used to enact identity. Consisting of the circulation of self-representative 'GIF reaction' blogs authored by young women on blogging social network Tumblr, I analyse how popular young actress Jennifer Lawrence is discursively and affectively sampled and remixed by these bloggers. These blogs match GIF (or .gif) images excerpted from film, television and other popular culture with self-authored captions to construct narratives of youthful femininity documenting feelings and reactions to quotidian situations. I draw together celebrity studies work and the work of feminist scholars of online identity to ask how young women, as subjects who are addressed by celebrity as a vehicle for broader, postfeminist narratives, use Lawrence's gendered, affective labour in their own identity work in a social, digital environment. Here, the blogs reuse and reconstruct Lawrence's skilful affective navigation of postfeminist demands and her celebrity signification of carefree and fun authenticity in narrating the bloggers' own negotiations of femininity.

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Section: The Intersections Of Postfeminism Celebrity and Authenticitymentioning

confidence: 99%

Jennifer Lawrence, remixed: approaching celebrity through DIY digital culture

Kanai

2015

Celebrity Studies

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“…The notion that gender norms for sexuality follow a double standard (Alferes, 1997;Hust et al, 2008;Jackson & Scott, 2004;Nogueira, Saavedra, & Costa, 2008) that encourages women to marry (Cancian & Gordon, 1988;Erel, 2011;Press, 2011) and permits men to have multiple sexual liaisons (Alferes, 1997;Saavedra et al, 2010) is not new. What is perhaps more noticeable is the pervasiveness of these standards in a time of the apparent "liberation"/"banalization" of sexuality, in which several authors have discussed the "sexualization of culture" (Gill, 2008;Ringrose, 2011) and the "hyper-sexualization" of women (Gill, 2008(Gill, , 2010.…”

Section: From "Chastity As a Gift" To "Doing It As A Sign Of Love": Amentioning

confidence: 99%

From “Chastity As a Gift” to “Doing It As a Sign of Love”

2012

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This study aims to analyze the media discourse about feminine sexuality produced by Portuguese magazines. Texts about female sexuality published in six types of magazines between 1965 and 2006 were content analyzed. The results showed that Portuguese media's discourse on sexuality is not only becoming more liberal but is also characterized by ambiguity and contradiction. Within a "progressive" discursive framework for sexuality, tensions and double standards for women are still noticeable. The media discourse in Portugal continues to reinforce the established gender hierarchy and inequality in heterosexual relationships and maintain traditional gender roles.Keywords sexuality, gender, women, media, culture, Portugal 2 SAGE Open conducted in the United States using two groups of adolescent girls, showed clear differences in the construction of femininity that was linked to the specific sociocultural characteristics of the two groups. Skeggs (2003, as cited in Jackson & Scott, 2004 added that norms for feminine sexual "decency" are different for each social class: For middleclass women with economic resources, sexual encounters are seen as a means to affirm autonomy, freedom, or status, while the same behavior from lower-class women incites social dislike and pejorative labeling.Despite these macro-and microcultural variations, most cultures endorse different expectations, rules, and values for both genders, and the global tendency is toward the restriction and subordination of female sexuality (Benkert, 2002;Hust et al., 2008).The notion that gender norms for sexuality follow a double standard (Alferes, 1997;Hust et al., 2008;Jackson & Scott, 2004;Nogueira, Saavedra, & Costa, 2008) that encourages women to marry (Cancian & Gordon, 1988;Erel, 2011;Press, 2011) and permits men to have multiple sexual liaisons (Alferes, 1997;Saavedra et al., 2010) is not new. What is perhaps more noticeable is the pervasiveness of these standards in a time of the apparent "liberation"/"banalization" of sexuality, in which several authors have discussed the "sexualization of culture" (Gill, 2008;Ringrose, 2011) and the "hyper-sexualization" of women (Gill, 2008(Gill, , 2010.In fact, although a discourse of apparent liberation and "openness" prevails in popular and media representations, some studies reveal anomalies and contradictions within these discourses (Alferes, 1997;Crawford & Popp, 2003;Jackson & Scott, 2004, 2007. Tolerance of casual and premarital sexual relationships occurs simultaneously with the hope of a serious, loving relationship (Jackson, 2001); tolerance of homosexuality and serial relationships coexists with the reinforcement of heterosexuality and monogamy as an ideal (Harvey & Gill, 2011;Jackson & Scott, 2004). This coexistence of change and continuity is, as suggested by Jackson and Scott (2004), "indicative of a persistent unease about the sexual that sits side by side with an acceptance of greater sexual freedom and diversity" (p. 235).Whereas some authors argue that heterosexual relationships are mo...

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“…As discussed in my literature review, scholars have demonstrated that dominant beauty standards, norms and practices tend to construct femininity in line with elite objectives (e.g. Franco, 2008;Heinricy, 2008;Press, 2011;Scott, 2007).…”

Section: (Anti)consumerist Discoursesmentioning

confidence: 99%

“…Some communication and media scholars particularly focus on the ways in which media representations of feminine beauty play an integral role in reproducing class relations. Specifically, these scholars pay particular attention to the ways in which the reality television makeover format links beauty and femininity with the elite class values (Franco, 2008;Heinricy, 2008;Press, 2011;Scott, 2007). For example, Scott (2007) Franco (2008) argues that the reality show Extreme Makeover articulates ideals of beauty with elite class values and hetero-normativity by suggesting that these new found beauty ideals will lead to hetero-normative love, romance and marriage.…”

Section: Feminist Communication and Cultural Approaches: Beauty As Opmentioning

confidence: 99%

“…This strain of scholars further argue that 'new feminities' are being constructed in order to reassert women's positions of subordination and suggest that practices of beautification are positioned within a neoliberal sensibility wherein projects of individual self-improvement and empowerment are intimately linked with consumption practices. 13 More specifically, they analyse how media representations and particularly the makeover reality television genres as well as social media practices conflate post-feminism with neoliberal interests (Budgeon, 2011;Franco, 2008;Press, 2011). Furthermore, they uphold that these themes coexist with and are structured by continuing inequalities and exclusions that relate to class, race, ethnicity, age and sexuality wherein young, white, middle-upper class beauty standards are normalized.…”

Section: Feminist Communication and Cultural Approaches: Beauty As Opmentioning

confidence: 99%

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Beauty Marks: Counter-hegemonic Power of the Body?

Klein¹

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My dissertation furthers a conversation about beauty and the body in communication studies by considering how beauty standards, norms and practices operate within techniques and tactics of power in diverse modes of communication.Using an interdisciplinary approach, the dissertation re-figures 'beauty' as a meaningful concept, considering it not just as an instrument of (patriarchal) domination but also as part of techniques and tactics of resistance to domination. The claim of my dissertation is that beauty should be re-conceptualized in ways that counter the generally accepted notion of the term, particularly in the field of communication studies (Smith, 1990;Marvin, 2006), where media practices are held mainly to reproduce unattainable body ideals that are designed to keep women in positions of subordination (Bordo, 1993(Bordo, /2003Brand, 2000;Kilbourne, 2000;Wolfe, 1991). It also brings some nuances to cultural studies scholarship that suggests that the body is not only a natural entity but is often culturally produced in line with patriarchal, capitalist and racist interests (Collins, 1990;Hall, 1997;Phillips, 2004).Through an analysis of diverse practices of communication situated in different contexts, I investigate the ways in which beauty standardisation and normalisation practices can operate in processes of counter-hegemony. Operating from the starting point that beauty is a social construct and tied to communication and media practices, I examine its operation in different types and techniques of power and resistance using three case studies: 1) propaganda posters and face-to-face communication under German Fascism; 2) fashion blogging and social media practices; and 3) neo-burlesque theatre.

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‘Feminism? That’s So Seventies’: Girls and Young Women Discuss Femininity and Feminism in America’s Next Top Model

Cited by 34 publications

References 18 publications

Jennifer Lawrence, remixed: approaching celebrity through DIY digital culture

Jennifer Lawrence, remixed: approaching celebrity through DIY digital culture

From “Chastity As a Gift” to “Doing It As a Sign of Love”

Beauty Marks: Counter-hegemonic Power of the Body?

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