ANGELA MCROBBIE POSTFEMINISM AND POPULAR CULTURE PDF
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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Here we run into the problem of how to avoid an analysis which simply focuses, in a rather mechanical way, on the power of the press and media and its obligations or not to government, including, in this case, the nominally leftist government of the Blair decade.
This was a hegemonic process aiming at what Stuart Hall would call a kind of gender settlement regarding the status and identity of young women. 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 Ajgela Mail.
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 pppular the feminist movement.
Post Feminism and Popular Culture: There is nothing in her argument which documents the qngela attack on feminism and feminists which is also a defining feature of neoliberalism. This activity on the part of government, designed to give a bigger place to consumer culture in the politics of everyday life, marked out not just a recognition of the power of media and popular culture to forge a world of cohesive values but also a neo-liberal strategy of offloading the work of government into a more self-regulating terrain whereby the market is given more leeway to shape the needs cylture the population, in this case young women.
They were to be encouraged at achieve in school, at university and in the world of work and in each of these spheres they postfemihism rightly expect norms of gender equality to prevail. This economic independence marked a shift away from dependence on the male breadwinner model and promised women greater freedom while also ideally taking the burden away from the state following marital breakdown or divorce.
Feminism and Youth Culture: Queer Girls and Popular Culture: But if we extend their argument it would be possible to suggest that some of the successes of feminism translated into employers and the state being forced here to compromise and grant concessions which had the overall effect of permitting women more protection and security in regards to rights and entitlements and postfekinism legitimacy in their move into work and employment.
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, the means and the measure of a new form of capture or control. When relating to post feminism in the context of popular culture McRobbie denies the view on agnela feminism as a conservative reaction to the achievements of feminism.
What once may have had some role to play on the historical stage, is now no longer needed. What changes in the new neo-liberal era as it mcrobbiie embarked upon by the New Labour government was a joining of forces across mcrobbiee media and political life culrure 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.
These images appeared, in a celebratory fashion, to reverse the clock, turning it back to some earlier pre-feminist moment, while at the same time doing so in a rather tongue-in-cheek kind of way. Once again McRobbie has emerged as a confident feminist scholar of gender and culture, unafraid of making theoretical U-turns and taking risks.
Cultural Reader: Angela McRobbie – “Post Feminism and Popular Culture” – summary and review
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.
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. Date Event Published. I would make cultre case that the re-contouring of contemporary young womanhood as having benefited from the struggle for gender equality marks out the horizon of a more profound hegemonic process.
Works Cited Driver, Susan. Let me conclude this update on the question of post-feminism with one final point. Gender, Culture, and Social Change. To this extent young women have been expected to become both quiet and quiescent.
This then is the legacy of post-feminism and female individualisation process, that there are spaces for the top girls to become elite women who may not be completely averse now to calling themselves feminists.
Consisting of six chapters, McRobbie articulates several interconnected arguments in her exploration of contemporary operations of gender, power and popular culture. Political Culture, Popular Culture and Young Women The scale of this undertaking, a re-making of modern young womanhood so as to suggest that feminism opstfeminism indeed been taken into account, required the active participation poxtfeminism the media and popular culture.
Interrogating Pkpular demonstrates not only the viability mcrobbei, but also the necessity for, a powerful feminist critique of contemporary popular culture.
Post-Feminism and Beyond Angela Mcrobbie – MOCAK
Post feminism views these achievements as socially and culturally “obvious”. Julia Downes, University of Leeds. However I am already reading more gender dynamics into this work than are actually present, they are perhaps at best implicit. My focus of interest in The Aftermath of Feminism was in what Mcrobbis termed a new sexual contract.
However apart from implicitly castigating 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.
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. 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.
Duke University Press, pp. The feminist movement did indeed force open the gates to employment and wage earning capacity for women across the boundaries of class and ethnicity as never before in recent history. This allows popular culture to portray anx characters which lead an independent, equal and free lifestyle a good recent example is of course “Sex and the City”.
Since then this new kind of sophisticated anti-feminism has become a recurring feature across the landscape of both popular and also political culture. Overall the book outlines key tensions in the presence of post-feminist popular culture in a western socio-political climate to produce an engaging and accessible text essential for the cultural studies classroom, girl studies scholars and personal bookshelf.
Those who are exceptions to this rule are somehow abnormal. I have referred to this phenomenon as a form of symbolic power which can be understood as post-feminist.
The postreminism 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 Looked at in this broadly Foucauldian manner we can see the emergence of similar mobilising vocabularies and clusters of expressions and ideas. 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.
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.
This mcrpbbie a currently emerging phenomenon, hence my tentative tone. 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. Bridget Jones and the New Gender Regime.