Television Women From Lucy To Friends

Between the pre-feminist antics of Lucy Ricardo & the post-feminist musings of the women in 'Friends', the depiction of women on television has evolved in as many interesting & surprising ways as the women's movement itself.

Branded Women in U.S. Television examines how The Real Housewives of New York City, Martha Stewart, and other female entrepreneurs create branded televised versions of the iconic U.S. housewife. Using their television presence to establish and promote their own product lines, including jewelry, cookware, clothing, and skincare, they become the primary physical representations of these brands. While their businesses are serious and seriously lucrative, especially reality television enables a certain representational flexibility that allows participants to create campy and sometimes tongue-in-cheek personas. Peter Bjelskou explores their innovative branding strategies, specifically the complex relationships between their entrepreneurial endeavors and their physical bodies, attires, tastes, and personal histories. Generally these branded women speak volumes about their contemporaneous political environments, and this book illustrates how they, and many other women in U.S. television history, are indicative of larger societal trends and structures.

Long dismissed as ciphers, sycophants and "Stepford Wives," women characters of primetime television during the 1950s through the 1980s are overdue for this careful reassessment. From smart, savvy wives and resilient mothers (including the much-maligned June Cleaver and Donna Reed) to talented working women (long before the debut of "Mary Tyler Moore") to crimebusters and even criminals, American women on television emerge as a diverse, empowered, individualistic, and capable lot, highly worthy of emulation and appreciation.

Marginalized Women and Work in 20th- and 21st-Century British and American Literature and Media examines the intricate relationship between marginalized women and work through critical essays about representations of women’s work in non-canonical literary writings, mass media, and popular culture. Covering a broad range of texts including Paule Marshall’s fiction, Natasha Trethewey’s poetry, and the Netflix series Self Made: Inspired by the Life of Madam C.J. Walker, among others, this collection takes an intersectional approach in order to shed light on the definition and meaning of marginalized women's work and the value of their labor in the capitalistic economic systems of the twentieth and twenty-first centuries.

This work examines the Gilmore Girls from a post-feminist perspective, evaluating how the show's main female characters and supporting cast fit into the classic portrayal of feminine identity on popular television. The book begins by placing Gilmore Girls in the context of the history of feminism and feminist television shows such as Mary Tyler Moore and One Day at a Time. The remainder of the essays look at series' portrayal of traditional and non-traditional gender identities and familial relationships. Topics include the hyper-real utopia represented by Gilmore Girls' fictional Stars Hollow; the faux-feminist perspective offered by Rory Gilmore's unfulfilling (and often masochistic) romantic relationships; the ways in which "mean girl" Paris Geller both adheres to and departs from the traditional archetype of female power and aggression; and the role of Lorelai Gilmore's oft-criticized marriage in destroying the show's central theme of single motherhood during its seventh season. The work also studies the role of food and its consumption as a narrative device throughout the show's development, evaluating the ways in which food negotiates, defines, and upholds the characters' gendered and class performances. The work also includes a complete episode guide listing the air date, title, writer, and director of every episode in the series.

Covering from 1900 to the present day, this book highlights how female artists, actors, writers, and activists were involved in the fight for women's rights, with a focus on popular culture that includes film, literature, music, television, the news, and online media. Women's Rights: Reflections in Popular Culture offers a succinct yet thorough resource for anyone interested in the relationship between feminism, women's rights, and media. It is ideally suited for students researching popular culture's role in the modern history of women's rights and representation of women, women's rights, and feminism in popular culture. This insightful book highlights of some of the most important moments of women taking a stand for women throughout popular culture history. Each section focuses on an aspect of popular culture. The television section covers important benchmarks, such as Julia, The Mary Tyler Moore Show, Roseanne, Murphy Brown, and Ellen. Coverage of films includes Christopher Strong, Foxy Brown, and Thelma & Louise; the literature section features the work of influential individuals such as Virginia Woolf, Zora Neale Hurston, and Toni Morrison. The book celebrates early musical ground-breakers like Gertrude "Ma" Rainey and Bessie Smith as well as contemporary artists Janelle Monáe and Pussy Riot. The work of key women activists—including Margaret Sanger, Angela Davis, and Winona LaDuke—is recognized, along with the unique ways women have used the power of the web in their continued effort to push for women's equality.

Can comedy on television harbour elements of gender transgression or subversion? If a man is permitted to be 'funny peculiar' – playing the underdog or misfit – does a woman seem stranger in his place? Mapping examples from British and American comedy television over the past 60 years, from I Love Lucy to The Big Bang Theory and Smack the Pony to Waiting For God, this book asks: are particular forms of television comedy gendered in specific ways? Paying attention to series which have not been addressed in academic work, as well as more established shows, White offers fresh insights for the fields of television studies, gender and women's studies, cultural history and comedy.

Alison Horbury investigates the reprisal of the myth of Persephone - a mother-daughter plot of separation and initiation - in post-feminist television cultures where, she argues, it functions as a symptom expressing a complex around the question of sexual difference - what Lacan calls 'sexuation', where this question has been otherwise foreclosed.