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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Indeed it is a mark of their cultural intelligibility as young women that they renounce or disavow the need for a new sexual politics. Once again McRobbie has emerged as a confident feminist scholar of gender and culture, unafraid of making theoretical U-turns and taking risks. There is nothing new about casting the feminist or indeed the lesbian as the arch-villain whose anger and hostility stems from some personal inadequacy.

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

When relating to post feminism in the context of popular culture McRobbie denies the view on post feminism as a conservative reaction to the achievements of feminism. The world of media imagery and the politics of meaning are deeply and inextricably connected to and part of the wider political economy.

She appreciates the multiple layers of meaning and she gets the joke. The prevailing use of irony seemed to exonerate the culprits from the crime of postfeminisk 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.

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

We might ponder how and why this has happened. Gender and the Politics of Popular Culture. Media and Communications Dates: Mobile app Plan your visit to the Museum, check out current events and visit our exhibitions with our Mobile App.

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There is nothing in her argument which documents the sustained attack on feminism and feminists which is also a defining feature of neoliberalism. Political Culture, Popular Culture and Young Women 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.

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

However I am already reading more gender dynamics into this work than are actually present, they are perhaps at best implicit.

Post-Feminism and Beyond Angela Mcrobbie – MOCAK

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.

Gender, Culture, and Social Change. 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 mcrobbe case, the nominally leftist government of the Blair decade. Under this new gender regime the subjectivities of young women are defined and described in a repetitive manner in popular and political discourses along the lines of female individualisation.

However, these independent women, like in Sex and the City, are not abiding according to McRobbie to the principles of feminism and they do not associate themselves with the movement and its goals, therefore not contributing to its political power. 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.

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 new regime of gender power requires the consent and participation of young women in the rejection of feminism.


Consisting of six chapters, McRobbie articulates several interconnected arguments in her exploration of contemporary operations of gender, power and popular culture. My focus of interest in The Aftermath of Feminism was in what I termed a new sexual contract.

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. Postfeminism is defined by class, age, and racial exclusions; it is youth-obsessed and white and middle-class by default.

Post Feminism and Popular Culture: 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. Some of these popular culture depictions of modern women use their freedom to chose in adopting female behavioral patterns which feminism tried to abolish.

This concerns the UK Coalition government. Diane Negra and Yvonne Taskereds.

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Bridget Jones and the New Gender Regime. I have referred to this phenomenon as a form of symbolic power which can be understood as post-feminist.

For McRobbie, contemporary popular culture expresses what has been termed “post feminism”. This is merely to set one powerful apparatus alongside another, each with an agenda which may or may not coincide.

This activity on the part of government, designed to give a bigger place to consumer culture in the politics of everyday life, marked out not just a recognition of the power of media and popular culture to forge a world of cohesive values angea also a neo-liberal strategy of offloading the work of government into a more self-regulating terrain whereby the market is given more leeway to shape the needs of the population, in this case young women.

Those who are exceptions to nagela rule are somehow abnormal.