Course Description

At the core of the course is the question how feminism has become a demonized and ridiculed “F-word” in an age when issues of gender and sexuality are at the center of constant, often explosive political debates. These debates often connect media representation and political representation but tend to do so in simplistic ways that bypass or distort decades of sophisticated feminist theory and practice. We will trace back such representations through the decades around case studies that encompass film, video, television and new media practices. The case studies come from the United States and beyond, taking into full account the global interconnectedness of media production and consumption as well as the transnational travel of feminist ideas. The main goal of the course is to evaluate how useful feminist thinking is to understanding the relays between media and political representation; and to develop a lasting critical apparatus to analyzing the politics of gender and sexuality in the media.


Monday, November 4, 2013

Press and the Golden Age

After reading Press's piece on the "golden age" of television, it's hard to judge just how much we've progressed along the years. LIke the piece mentioned, it is almost impossible to think about early television (let alone early television feminists) and not like of Lucile Ball in I Love Lucy. Even as a 50s housewife, Lucy "never gave up her repeated attempts to escape the confines of her domestic situation to enter show business, start a business, get a job" and so on. Shortly after the reign of Lucy came the "golden age" of television where a more accurate depiction of women was replaced with a "plethora of white, middle-class families showcasing very simple problems (happy people with happy problems)." This is where we saw the Brady Bunch type of families. It wasn't until postfeminism television did views see a different view of family dynamic, and I believe the best example of this is Roseanne Barr's take of the modern family in her self titled television series. She was one of the first women on television to paint a realistic picture of the working class/blue collar family dealing with real issues. There was no veil or fake image of what a middle aged woman (who also happened to be a mother and a wife) should act like, but instead felt more relatable. It was as if she captured the image of the real working class woman and not this ideal image of what middle-class woman should aspire to be. Best of all, she portrayed this image through comedy, proving that women, in their realistic image, can be funny.  

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