Postfeminist Whiteness

Kendra Marston interrogates representations of melancholic white femininity in contemporary Hollywood cinema, arguing that the melancholic white woman' serves as a vehicle through which to explore the excesses of late capitalism and a crisis of faith in the American dream.

Kendra Marston interrogates representations of melancholic white femininity in contemporary Hollywood cinema, arguing that the 'melancholic white woman' serves as a vehicle through which to explore the excesses of late capitalism and a crisis of faith in the American dream.

DIVFeminist essays examining postfeminism in American and British popular culture./div

This edited book inserts postfeminism (PF) as a critical concept into understandings of work and organization. While the notion of PF has been extensively investigated in cultural and media studies, it has yet to emerge within organization studies - remaining marginal to understandings of work based experiences and subjectivities. Understanding PF as a discursive cultural context not only draws on an established epistemological orientation to organizations as discursively constructed and reproduced but allows us to highlight how PF may underpin and be underpinned by other discursive regimes This book, as the first in the field, draws on key international authors to explore: the contextual ‘backdrop’ of PF and its links with neo-liberalism, transnational feminism and other hegemonic discourses; the different ways in which this backdrop has infiltrated organizational values and practice through the primacy attached to choice, merit and individual agency as well as through the widespread perception that gender disadvantage has been ‘solved’; and the implications for organizational subjectivity and for how inequality is experienced and perceived. This book introduces postfeminism as a critical concept with contemporary importance for the study of organizations, arguing for its explanatory potential when: Exploring women’s and men’s experience of managing and organizing; Investigating the gendered aspects of organizational life; Analysing the contemporary validation of the feminine and the associated feminization of management/leadership and organizations; Tracing the emergence of new femininities and masculinities within organizational contexts. The book is ideal reading for researchers working in the area of Gender and Organization Studies but is also of interest to researchers in the areas of Cultural Studies, Media Studies, Women’s Studies and Sociology.

Through twelve chapters that historicize and re-evaluate postfeminism as a dominant framework of feminist media studies, this collection maps out new modes of feminist media analysis at both theoretical and empirical levels and offers new insights into the visibility and circulation of feminist politics in contemporary media cultures. The essays in this collection resituate feminism within current debates about postfeminism, considering how both operate as modes of political engagement and as scholarly traditions. Authors analyze a range of media texts and practices including American television shows Being Mary Jane and Inside Amy Schumer, Beyonce’s "Formation" music video, misandry memes, and Hong Kong cinema.

In this trenchant inquiry into the state of feminism, Angela McRobbie breaks open the politics of sexual equality and 'affirmative feminism' and sets down a new theory of gender power. Challenging the most basic assumptions of the 'end' of feminism, this book argues that invidious forms of gender re-stabilisation are being re-established. Consumer and popular culture encroach on the terrain of so-called female freedom, appearing supportive of female success, yet tying women into new post-feminist neurotic dependencies. With a scathing critique of 'women's empowerment', McRobbie has developed a distinctive feminist analysis that she uses to examine socio-cultural phenomena embedded in contemporary women's lives: from fashion photography and the television 'make-over' genre to eating disorders, body anxiety and 'illegible rage'. A turning point in feminist theory, The Aftermath of Feminism will set a new agenda for gender studies and cultural studies.

Women in Lagos, Nigeria, practice a spectacularly feminine form of black beauty. From cascading hair extensions to immaculate makeup to high heels, their style permeates both day-to-day life and media representations of women not only in a swatch of Africa but across an increasingly globalized world. Simidele Dosekun's interviews and critical analysis consider the female subjectivities these women are performing and desiring. She finds that the women embody the postfeminist idea that their unapologetically immaculate beauty signals—but also constitutes—feminine power. As empowered global consumers and media citizens, the women deny any need to critique their culture or to take part in feminism's collective political struggle. Throughout, Dosekun unearths evocative details around the practical challenges to attaining their style, examines the gap between how others view these women and how they view themselves, and engages with ideas about postfeminist self-fashioning and subjectivity across cultures and class. Intellectually provocative and rich with theory, Fashioning Postfeminism reveals why women choose to live, embody, and even suffer for a fascinating performative culture.

This book analyzes the intersections of celebrity, self-branding, and "mommy" culture. It examines how images of celebrity moms playing versions of themselves on reality television, social media, gossip sites, and self-branded retail outlets negotiate the complex demands of postfeminism and the current fashion for heroic, labor intensive parenting. The cultural regime of "new momism" insists that women be expert in both affective and economic labor, producing loving families, self-brands based on emotional connections with consumers, and lucrative saleable commodities. Successfully creating all three: a self-brand, a style of motherhood, and lucrative product sales, is represented as the only path to fulfilled adult womanhood and citizenship. The book interrogates the classed and racialized privilege inherent in those success stories and looks for ways that the versions of branded motherhood represented as failures might open a space for a more inclusive emergent feminism.