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By examining news and documentary media produced since September 11, 2001, Vavrus demonstrates that news narratives that include women use feminism selectively in gender equality narratives. She ultimately asserts that such reporting advances post-feminism, which, in tandem with banal militarism, subtly pushes military solutions for an array of problems women and girls face.
Media representations and practices that have emerged out of contemporary wars have been well documented by a wide array of books and articles. These treatments, however, have been less attentive to how cultural constructions of military personnel and war itself figure in the depiction of the incursions in Iraq and Afghanistan. In Post-Feminist War, Mary Douglas Vavrus argues that all of these identity categories are integral to our understanding of those fighting, saved, or victimized by war. She considers two important questions: how the construction of gender, race, and class in media are productive of régimes of truth regarding war and military life, and how such constructions may also intensify militarism. By examining news and documentary media produced since September 11, 2001, Vavrus demonstrates that news narratives that include women use feminism selectively in gender equality narratives, which tend to reinforce historically resonant gender, race, and class identity constructions. She ultimately asserts that such reporting advances post-feminism, which, in tandem with banal militarism, subtly pushes military solutions for an array of problems women and girls face.
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.
NATIONAL BESTSELLER • The remarkable memoir of an ambitious young photojournalist who went off to war as a twenty-two-year-old girl—and came back, four years and many adventures later, a woman “Eloquent and well observed, not only about the memoirist, but about the world: war, death, photojournalism and, of course, the worldwide battle between the sexes.” —The Washington Post Book World In 1988, fresh out of Harvard, Deborah Copaken Kogan moved to Paris with a small backpack, a couple of cameras, the hubris of a superhero, and a strong thirst for danger. She wanted to see what a war would look like when seen from up close. Naïvely, she figured it would be easy to filter death through the prism of her wide-angle lens. She was dead wrong. Within weeks of arriving in Paris, after begging to be sent where the action was, Kogan found herself on the back of a truck in Afghanistan, her tiny frame veiled from head to toe, the only woman—and the only journalist—in a convoy of rebel freedom fighters. Kogan had not actually planned on shooting the Afghan war alone. However, the beguiling French photographer she’d entrusted with both her itinerary and her heart turned out to be as dangerously unpredictable as, well, a war. Kogan found herself running from one corner of the globe to another, each linked to the man she was involved with at the time. From Zimbabwe to Romania, from Russia to Haiti, Kogan takes her readers on a heartbreaking yet surprisingly hilarious journey through a mine-strewn decade, her personal battles against sexism, battery, and even rape blending seamlessly with the historical struggles of war, revolution, and unfathomable abuse it was her job to record. In the end, what was once adventurous to the girl began to weigh heavily on the woman. Though she had finally been accepted into photojournalism’s macho fraternity, her photographs splashed across the front pages of international newspapers and magazines, Kogan began to feel there was something more she was after. Ultimately, what she discovered in herself was a person—a woman—for whom life, not death, is the one true adventure to be cherished above all.
Finalist for the 2014 ForeWord IndieFab Book of the Year Award in the Women's Studies Category Bronze Medalist, 2015 Independent Publisher Book Awards in the Women Issues Category Winnerof the 2015 Emily Toth Award presented by the Popular Culture Association & American Culture Association Warrior Women considers the significance of Chinese female action stars in martial arts films produced across a range of national and transnational contexts. Lisa Funnell examines the impact of the 1997 transfer of Hong Kong from British to Chinese rule on the representation of Chinese identities—Hong Kong Chinese, mainland Chinese, Chinese American, Chinese Canadian—in action films produced domestically in Hong Kong and, increasingly, in cooperation with mainland China and Hollywood. Hong Kong cinema has offered space for the development of transnational Chinese screen identities that challenge the racial stereotypes historically associated with the Asian female body in the West. The ethnic/national differentiation of transnational Chinese female stars—such as Pei Pei Cheng, Charlene Choi, Gong Li, Lucy Liu, Shu Qi, Michelle Yeoh, and Zhang Ziyi—is considered part of the ongoing negotiation of social, cultural, and geopolitical identities in the Chinese-speaking world.
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.
In a series of essays scrutinizing feminist and post-structuralists positions, Tania Modleski examines "the myth of postfeminism" and its operation in popular culture, especially popular film and cultural studies. (First published in 1991.)
From domestic goddess to desperate housewife, What a Girl Wants? explores the importance and centrality of postfeminism in contemporary popular culture. Focusing on a diverse range of media forms, including film, TV, advertising and journalism, Diane Negra holds up a mirror to the contemporary female subject who finds herself centralized in commodity culture to a largely unprecedented degree at a time when Hollywood romantic comedies, chick-lit, and female-centred primetime TV dramas all compete for her attention and spending power. The models and anti-role models analyzed in the book include the chick flick heroines of princess films, makeover movies and time travel dramas, celebrity brides and bravura mothers, ‘Runaway Bride’ sensation Jennifer Wilbanks, the sex workers, flight attendants and nannies who maintain such a high profile in postfeminist popular culture, the authors of postfeminist panic literature on dating, marriage and motherhood and the domestic gurus who propound luxury lifestyling as a showcase for the ‘achieved’ female self.
The country’s wars in Iraq and Afghanistan, its interventions around the world, and its global military presence make war, the military, and militarism defining features of contemporary American life. The armed services and the wars they fight shape all aspects of life—from the formation of racial and gendered identities to debates over environmental and immigration policy. Warfare and the military are ubiquitous in popular culture. At War offers short, accessible essays addressing the central issues in the new military history—ranging from diplomacy and the history of imperialism to the environmental issues that war raises and the ways that war shapes and is shaped by discourses of identity, to questions of who serves in the U.S. military and why and how U.S. wars have been represented in the media and in popular culture.
This text comprehensively surveys and critically positions the main issues, theories and contemporary debates surrounding postfeminism.