• June 21, 2019

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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This could be seen in recent months on the public debate this time undertaken by David Cameron which tackled the subject of the sexualisation of childhood and the ranges of fashion and beauty products targeted at small girls often under the age of 5. Essays by feminist film, media, and literature scholars based in the United States and United Kingdom provide an array of perspectives on the social and political implications of postfeminism.

Its distinctive feature is that it upholds the principles of gender equality, while denigrating the figure of the feminist. Those who are exceptions to this rule are somehow abnormal. 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.

Thank goodness, the image seemed to suggest, we can now, once again, enjoy looking at the bodies of beautiful women with impunity. Since then this new angdla of sophisticated anti-feminism has become a recurring feature across the landscape of both popular and also political culture. McRobbie dismisses the potential of subcultures that are constantly threatened by corporate co-optation: There populae 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.

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 Daily Mail.

From Jackie to Just 17McRobbie constructed a progressive cultural shift that reflected gains in new sexual freedoms and power for populag women.

And unlike Mrs Thatcher she is no longer absolutely unique and exceptional. From the late s, my attention, as a feminist sociologist, kept being drawn to media images which were intended to provoke some imagined group of always humourless feminists.

This is a currently emerging phenomenon, hence my tentative tone.

Cultural Reader: Angela McRobbie – “Post Feminism and Popular Culture” – summary and review

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.

So skilful with the use of postmodern irony was the image, that it also sought to produce a kind of generational divide, the younger female viewer is not made angry, unlike her older counterpart.

We might ponder how and why this has happened. There populaf changes here which suggest the forging of a more explicit conjoining pkstfeminism neo-liberal policies, if not with feminism, then with an idea of modern womanhood. What once may have had some role to play on the historical stage, is now no longer needed. The argument 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 The world of media imagery and the politics of meaning are deeply and inextricably connected to and part of the wider political economy.


Once again McRobbie has emerged as a confident feminist scholar of gender and culture, unafraid of making theoretical U-turns and taking risks. 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.

She appreciates the multiple layers of meaning and she gets the joke. 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 podtfeminism and entitlements and also legitimacy in their move into work and employment.

Post-Feminism and Beyond Angela Mcrobbie – MOCAK

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.

Government would at that time provide supports and culrure to do well, to gain high qualifications and to cultture for the financial independence of the monthly salary.

Personally I found myself taking sharp in-breaths as McRobbie spun out an increasing sense of loss, pessimism, and lack of confidence in new generations of young women. Gender, Culture, and Social Change.

Research Online

To this extent young women have been expected to become both quiet and quiescent. Works Cited Driver, Susan. This was a hegemonic process aiming at what Stuart Hall would call lostfeminism kind of gender settlement regarding the status and identity of young women. But so far removed are they from ordinary women, especially those now losing their jobs across the public sector, that they may as well be film stars or celebrities.

While such an event may be interpreted as supportive and positive we need to dig deeper below the surface to understand what could be at stake in this kind of ajd for young women and their body anxiety? The young woman could also expect as a result of her hard working outlook and capacity also to gain some tangible sexual freedoms in the form of access to leisure culture, to a sex life which need not be tied to marriage and having children, and to a climate where the sexual double standard was to be removed so that the young woman could heartily enjoy sexuality with impunity, indeed she could also now get drunk, and even behave badly within certain limits as Bridget Jones tumbles out of taxis onto the street after a long night in the wine bar.

In terms of scholarship on queer and feminist cultural negotiations the work of Susan Driver and Mary Celeste Kearney offer other productive ways of thinking about how girls and young women can actively resist and rework dominant cultural meanings to produce other ways of becoming intelligible subjects that disrupt heterosexist logics.


The scale of this undertaking, a re-making of modern young womanhood so as to suggest that feminism has indeed been taken into account, required the active participation of the media and popular culture.

Bridget Jones and the New Gender Regime. I would make the 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.

Like myself Fraser recognises that western feminism, in a popular vein, had entered into everyday life especially around a set of values which appeared to challenge and contest visible inequalities and injustices. This is merely to set one powerful apparatus alongside another, each with an agenda which may or may not coincide.

As long as she did not become a single mother who would be reliant on welfare she could gain access to sexual pleasures which in the past had always been the privilege of men hence the new female market for soft pornography and the growth of so-called porn chic. This concerns the UK Coalition government.

In each case, though with different inflections, feminism could be seen as having forced some concessionary response on the part of the status quo and the dominant social groups in society or the patriarchy. Mobile app Plan your visit to the Museum, check out current events and visit our exhibitions with our Mobile App. Zamknij On this site mcrobgie use cookies to aid your use of our service and for statistical purposes.

It was through the intersections of popular and political culture that feminism was undone and, hey presto, was instead replaced by a prevailing, even triumphant, discourse of female individualism informed by a veneer of feminist principles and buzz words such as female empowerment or A1 girls etc which could then quite easily be set to work as part of an emerging new capitalist or neo-liberal agenda, this time directly addressed to, indeed customised for, 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 could rightly expect norms of gender equality to prevail. However I am already reading more gender dynamics into this work than are actually present, they are perhaps at best implicit.

Looked at in this broadly Foucauldian manner we can see the emergence of similar mobilising vocabularies and clusters of expressions and ideas. Diane Negra and Yvonne Taskereds. The second part of Angela McRobbie’s “Post Feminism and Popular Culture” uses her critical agenda in analyzing the film “The Bridget Jones Diary” in a manner that illustrates her argument that post feminism is shaping the way women are portrayed in recent popular culture.

In Feminism and Youth Culture: Post feminism views these achievements as socially and culturally “obvious”.