Taking time between g-string changes to educate ourselves: Sinéad O’Connor, Miley Cyrus, and celebrity feminism

Brady, Anita

doi:10.1080/14680777.2015.1137960

Cited by 24 publications

(6 citation statements)

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“…Further, the iCloud hack occurred at a cultural moment wherein feminism was (re-)emerging as a palatable and marketable form of celebrity culture. In 2013 numerous female celebrities ‘came out’ as feminists, including singers Miley Cyrus and Beyoncé, as well as actress Emma Watson (see Brady, 2016 ; Keller and Ringrose, 2015 ). As asserted by Banet-Weiser (2018), drawing on the work of Wiegman (1995) , the growth in this marketable and commodified version of feminism during late-stage capitalism underlines a broader neoliberal-inflected shift from a politics of visibility to an economics of visibility, wherein being visible, as a particularly racialized and gendered body, signifies a sense of empowerment or equality attained (rather than being a step toward politically entrenched rights).…”

Section: Tech Utopias Capitalist Inequality and Popular Feminismmentioning

confidence: 99%

“…The politics of inclusion allows for ‘progressive’ discourses to emerge and for more diverse faces to attain media success and is thus a seductive force. The recent growth in celebrity feminism (see Banet-Weiser, 2018; Brady, 2016 ; Keller and Ringrose, 2015 ) as well as feminism in news reporting (see Lawson, 2018 ; Marwick, 2017 ; Projansky, 2018 ) is important for many reasons and ought to be celebrated. Despite being owned by billionaire Jeff Bezos, for instance, the Washington Post ran some of the most left-leaning, feminist critiques of this event, including intersectional analyses of race, discussions of toxic masculinity, as well as the steady work of journalist Caitlin Dewey (2014a , 2014b , 2014c ) in standing up for the victims (see also McCoy, 2014 ; McDonald, 2014a , 2014b ).…”

Section: Feminism Misogyny and Reddit’s Bottom Linementioning

confidence: 99%

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More than a sex crime: a feminist political economy of the 2014 iCloud hack

Patrick

2021

Media, Culture & Society

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This article examines the media framing of and relations to the 2014 iCloud hack, wherein hundreds of female celebrities’ private photos were stolen and distributed online. In particular, I problematize the reading of this event as merely signalling the misogyny of ‘toxic’ online cultures and contextualize it as part of a larger political economy of female celebrity. I argue that, while the growth in feminist discourses emanating from both the mainstream media and celebrity women is encouraging, it perhaps occludes the broader power relations that extend across both new and traditional media, ensuring maintenance of the status quo. This event exemplifies problems with a popular form of feminism that seeks inclusion into these systems, rather than wider systemic change. Therefore, in addition to examining the celebrity and/or her audience as the site of political (feminist) work, I call for an excavation of the systems in which she is embedded and her relations to the means of media production and profit.

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Section: Tech Utopias Capitalist Inequality and Popular Feminismmentioning

confidence: 99%

Section: Feminism Misogyny and Reddit’s Bottom Linementioning

confidence: 99%

More than a sex crime: a feminist political economy of the 2014 iCloud hack

Patrick

2021

Media, Culture & Society

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“…An example of criticism against pop artists' feminist messages is writer and critic Gaylene Gould's essay in The Guardian, where she focuses on Beyoncé and Cyrus, among others, to ask if "this watered-down feminism [might] serve the very system that feminists should be fighting to dismantle" (Gould 2013). See Brady (2016) for a study that deals with celebrity feminism in relation to Miley Cyrus, her feud with Sinead O'Connor, and the performance of sexuality. aestheticization of pop personae probe into how pop artists negotiate their gendered identities performatively.…”

Section: The Year Of Pop Feminism?mentioning

confidence: 99%

Empowered or Objectified? Personal Narrative and Audiovisual Aesthetics in Beyoncé’s Partition

Hansen¹

2015

Popular Music and Society

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2017ii"iii"1 Also see Reynolds, who envisions pop coming to an end "not with a BANG but with a box set whose fourth disc you never got around to playing" (2011, ix). " 2"was frequently made evident by the three aforementioned artists. For example, the lyrics from Prince's "I would Die 4 U" (1984) seem to playfully reference how pop artists at times are able to transgress and oppose the strictures of gender -which is bound up with how his persona 2 was characterized to a large degree by genderplay 3while also raising the issue that pinpointing how this is achieved can be an arduous task. Certainly, matters of gender in pop music are intricate. And even though pop performances have the potential to subvert and transgress gender norms, it is striking how prevailing perceptions and expectations of gender persist both in popular culture and in Western culture more generally. As is made clear in this dissertation, gendered representations in pop are more often than not characterized by contesting symbols and signs, which can result in performances that elaborately redress dominant norms in the guise of opposition or innovation.Developments in the field of gender research have happened rapidly. Stan Hawkins (2017, 1) states this in the introduction to The Routledge Research Companion to Popular Music and Gender, 4 a volume that marks the twentieth anniversary of the seminal book on popular music and gender, Sexing the Groove (Whiteley 1997a).Hawkins (2017, 1) also points out that while there has been a surge of interest in research on popular music and gender, there is much work to be done still. Indeed, due to the ever-changing conventions of pop music production, performance, and consumption, there is a necessity for continuously devising new theories and methods for studying gendered identity in pop music. In particular, continuous developments in technology and media practices have led to changes in modes of representation and production that warrant scholarly scrutiny, not least with regard to the increasing significance of media convergence in the staging and showcasing of pop personae. 5 """""""""""""""""""""""""""""""""""""""""""""""""""""""" 2 In my usage of the term "persona" I am referring to the social role that pop artists assume, which can be described as the part of their personal selves that audiences are granted access to. This is not to be confused with how some artists perform in character, one notable example being David Bowie performing as Ziggy Stardust. The concept is revisited and discussed more thoroughly later in this introduction chapter, particularly in relation to personal narrativity (the stories that circulate around pop artists) and how specific parts of artists' identities are conveyed to audiences while others are undercommunicated.3 "Genderplay" denotes a switching of roles and toying with gender norms in ways that are designed to entertain as well as aspire to strategies of self-fashioning (Hawkins 2009; 2016, 28). See studies by Hawkins and Niblock (2011) and Walser (1994) that plac...

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“…A growing number of celebrity feminist flashpoints have been recursively mapped in Anglo-American popular culture since a media apex in 2014, creating a well-established terrain in which ideological struggles over the meaning and character of 'movement work' and its relation to the market are waged. Indeed, the figure of the 'celebrity feminist' provokes significant debate (Anita Brady 2016;Hannah Hamad and Anthea Taylor 2015;Emma Tennent and Sue Jackson 2019). The rollcall of A-list stars selfidentifying as feminists continues to expand, with luminaries such as Emma Watson, Jennifer Lawrence, Lena Dunham, Miley Cyrus, Taylor Swift, and Beyoncé claiming a public and politicised identity.…”

Section: Introductionmentioning

confidence: 99%