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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Interrogating Postfeminism demonstrates not only the viability of, but also the necessity for, a powerful feminist critique of contemporary popular culture. 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 cultyre of Aftermath.

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

We might ponder how and why this has happened. The prevailing use of irony seemed to exonerate the culprits from the crime of offending against what was caricatured as a kind of extreme, and usually man-hating feminism, while at the same time acknowledging that other, more acceptable, forms of feminism, had by now entered into the realms of common sense and were broadly acceptable.

This is a currently emerging phenomenon, hence my tentative tone. Post Feminism and Popular Culture: McRobbie dismisses the potential of subcultures that are constantly threatened by corporate co-optation: 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 nagela classroom, girl studies scholars and personal bookshelf.

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 concern for anv women and their body anxiety? What once may have had some role to play on the historical stage, is now no longer needed. It was through the intersections of cjlture and political culture that feminism was undone and, cutlure 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.

Queer Girls and Popular Culture: Newer Post Older Post Home. I would make the case that the re-contouring of contemporary young womanhood as having benefited from the struggle for gender equality marks out mcroobbie horizon of a more profound hegemonic process.

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Anchored in consumption as a strategy and leisure as a site for the production of the self, postfeminist mass media assumes that the pleasures and lifestyles with which it is associated are somehow universally shared and, perhaps more significantly, universally accessible.

The young woman could also expect as anela 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, cilture 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.


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 poopular of 5.

The scale of this undertaking, a re-making zngela 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.

This allows popular culture to portray female characters which lead an independent, equal and free lifestyle a good recent example is of course “Sex and the City”. What was omitted was encouragement to a more active form of political participation.

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. Across the spectrum of European politics it is the small super-league of polished, professional women who gain prominence from their prestigious jobs. 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.

Mobile app Plan your visit to the Museum, check out current pkstfeminism and visit our exhibitions with our Mobile App. This concerns the UK Coalition government. 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. To this extent young women have been expected to become both quiet and quiescent.

Since then this new kind of sophisticated anti-feminism has become a recurring feature across the landscape of both popular and also political culture.

This granting of some degree of freedom or capacity to women, and with this the idea that western angeka are nowadays liberated from tradition, becomes, at the same time, the means and popilar measure of a new form of capture or control. Julia Downes, University of Leeds.

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

She appreciates the multiple layers of meaning and she gets the joke. 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 culhure recent popular culture.

Remember that you can manage the cookies yourself by changing the settings on your browser. Some of these popular culture depictions of modern women use their freedom to chose in adopting female behavioral patterns which feminism tried to abolish. Media and Communications Dates: From Jackie to Just 17McRobbie constructed a progressive cultural shift that reflected gains in new sexual freedoms and power for young women.

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She is not alone in the cohort of young women who have emerged within the Conservative Party whose upper middle-class background along with an Oxbridge education makes them exemplars of female capacity.

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.

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. 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 also legitimacy in their move into work and employment.

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Post-Feminism and Beyond Angela Mcrobbie – MOCAK

My focus of interest in The Aftermath of Feminism was in what I termed a new sexual contract. 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. For McRobbie, contemporary popular culture expresses what has been termed “post feminism”. This permits a replacement for feminism through stressing not collectivity or the concerns of women per se, but postfeminissm competition, ambition, the meritocracy, self-help, and the rise of the Alpha Girl much loved by the Daily Mail.

The feminist angepa did indeed force open the gates postfeminsm employment and wage earning capacity for women across the boundaries of class and ethnicity as never before in recent history. During the Blair years political life was increasingly linked with the pursuit of a narrow professional career in Westminster, best left to those few for whom this was a life-choice.

Aftermath is amd 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.

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. Gender and the Politics of Popular Culture. 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. 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.

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