In focus: Postfeminism and contemporary media studies

Cinema Journal

Volumn 44, Issue 2, 2005, Pages 107-110

  Tasker, Yvonne ^a   Negra, Diane ^a  

^a UNIVERSITY OF EAST ANGLIA   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 34248585788     PISSN: 00097101     EISSN: None     Source Type: Journal    
DOI: 10.1353/cj.2005.0012     Document Type: Review

References (11)

1. A very abbreviated list of such publications would include Elspeth Probyn, "New Traditionalism and Post-Feminism: TV Does the Home," in Charlotte Brunsdon, Julie D'Acci, and Lynn Spigel, eds., Feminist Television Criticism: A Reader (New York: Oxford University Press, 1997), 126-37
2. Charlotte Brunsdon, "Post-feminism and Shopping Films," in Joanne Hollows, Peter Hutchings, and Mark Jancovich, eds., The Film Studies Reader (New York: Oxford University Press, 2000), 289-99
3. S. Kim, "'Sex and the Single Girl' in Postfeminism: The 'F' Word on Television," Television and New Media 2, no. 4 (November 2001): 319-34
4. Rachel Moseley and Jacinda Read, "Having It Ally: Popular Television (Post)Feminism," Feminist Media Studies 2, no. 2 (July 2002): 231-49
5. and Diane Negra, "Quality Postfeminism?: Sex and the Single Girl on HBO," Genders OnLine Journal 39 (2004), www.genders.org
6. Two recent feminist scholars who address this are Jacinda Read, in The New Avengers: Feminism, Femininity, and the Rape-Revenge Cycle (Manchester: Manchester University Press, 2000)
7. and Kathleen Karlyn, in "Scream, Popular Culture, and Feminism's Third Wave: 'I'm Not My Mother,'" Genders OnLine Journal 38 (2003), www.genders.org
8. Linda Ruth Williams argues that the declining critical and commercial success of screenwriter Joe Eszterhas after Basic Instinct (Paul Verhoeven, 1992) - a key film for postfeminist debate as Holmlund notes - can be attributed in part to a seeming failure by the audience for the erotic thriller to acknowledge the widespread acceptance of feminism. Williams, The Erotic Thriller in Contemporary Cinema (Edinburgh: Edinburgh University Press, forthcoming)
9. See Mary Beltrán, "Más Macha: The New Latina Action Hero," in Yvonne Tasker, ed., Action and Adventure Cinema (London: Routledge, 2004), 186-200
10. Recent films that celebrate a retreatist choice for the female lead include Picture Perfect (Glenn Gordon Caron, 1997), Someone like You (Tony Goldwyn, 2001), Kate & Leopold (James Mangold, 2001), Two Weeks' Notice (Marc Lawrence, 2002), Cheaper by the Dozen (Shawn Levy, 2003), and 13 Going on Thirty (Gary Winick, 2004). Films in which there is a complication or interruption of the retreatist trajectory include Sweet Home Alabama (Andy Tennant, 2002) and The Prince & Me (Martha Coolidge, 2004)
11. Hilary Radner's discussion of the "single girl" of the 1960s and that figure's complex relationship to concepts of citizenship and pleasure provides a historical context for these developments. See Radner, "Introduction: Queering the Girl," in Radner and Moya Luckett, eds., Swinging Single: Representing Sexuality in the 1960s (Minneapolis: University of Minnesota Press, 1999), 1-35