Women's Leisure as Political Practice: A Feminist Analysis ofOrange Is the New Black

Prison foodways in "Orange is the New Black"

“…The WIP genre, situated within historical and social milieus, reflects tropes, norms, and values about not only imprisoned women but women in general. Tropes appear again and again in women's prison films, such as lesbianism, "bad girls," and violence, which serve to reduce criminalized women to one-dimensional characters (Bratten, 2018;McKeown & Parry, 2017). Scholars have noted that the presentation of imprisoned women tends to be white-centric, emphasizes violent crimes rather than non-violent crimes, downplays the significant role played by women's trauma histories, and accentuates sexualized activity (Cecil, 2007).…”

“…religion (Jenkins & Wolfgang, 2018;Shoemaker, 2017) and issues of social justice (Caputi, 2015). The series highlights incarcerated women's ability to be agents of change (Fernández-Morales & Menéndez-Menéndez, 2016) and the complexity of their lives (McKeown & Parry, 2017). An edited volume, Feminist Perspectives on Orange is the New Black: Thirteen Critical Essays (Householder & Trier-Bieniek, 2016), was published by an academic press in 2016, further suggesting that this television phenomenon can be interrogated in several ways to add to the dialogue about women's imprisonment.…”

Diversidad entre rejas: Estereotipos e identidad de género en la ficción televisiva Orange is the New Black

“…Es el caso de esta serie, "alejada de las representaciones vinculadas al tradicionalismo patriarcal" (Aguado & Martínez, 2015: 263) y que apuesta por visibilizar las enfermedades mentales, las mujeres transgénero, el aborto, las agresiones sexuales o la vejez. A pesar de su reciente andadura televisiva, ha motivado profusas investigaciones que parten de los estudios de género (Artt & Schwan, 2016;Fernández & Menéndez, 2016;Schwan, 2016;McKeown & Parry, 2017). De la misma manera, la discriminación racial en prisión también es un recurrente tema de estudio (Caputi, 2015;Enck & Morrisey, 2015;Aguado & Martínez, 2016;Belcher, 2016), junto a la construcción de la línea temporal de la serie (Silverman & Ryalls, 2016), las ocupaciones laborales de las protagonistas (Pramaggiore, 2016) o la estrategia promocional de Netflix (DeCarvalho & Cox, 2016).…”