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.

Since the early 1980s Ecuador has experienced a series of events unparalleled in its history. Its “free market” strategies exacerbated the debt crisis, and in response new forms of social movement organizing arose among the country’s poor, including women’s groups. Gendered Paradoxes focuses on women’s participation in the political and economic restructuring process of the past twenty-five years, showing how in their daily struggle for survival Ecuadorian women have both reinforced and embraced the neoliberal model yet also challenged its exclusionary nature. Drawing on her extensive ethnographic fieldwork and employing an approach combining political economy and cultural politics, Amy Lind charts the growth of several strands of women’s activism and identifies how they have helped redefine, often in contradictory ways, the real and imagined boundaries of neoliberal development discourse and practice. In her analysis of this ambivalent and “unfinished” cultural project of modernity in the Andes, she examines state policies and their effects on women of various social sectors; women’s community development initiatives and responses to the debt crisis; and the roles played by feminist “issue networks” in reshaping national and international policy agendas in Ecuador and in developing a transnationally influenced, locally based feminist movement.

Examines the bleak television comedies that illustrate the obsession of the white left with its own anxiety and suffering At the same time that right-wing political figures like Donald Trump were elected and reactionary socio-economic policies like Brexit were voted into law, representations of bleakly comic white fragility spread across television screens. American and British programming that featured the abjection of young, middle-class, liberal white people—such as Broad City, Casual, You’re the Worst, Catastrophe, Fleabag, and Transparent—proliferated to wide popular acclaim in the 2010s. Taylor Nygaard and Jorie Lagerwey track how these shows of the white left, obsessed with its own anxiety and suffering, are complicit in the rise and maintenance of the far right—particularly in the mobilization, representation, and sustenance of structural white supremacy on television. Nygaard and Lagerwey examine a cycle of dark television comedies, the focus of which are “horrible white people,” by putting them in conversation with similar upmarket comedies from creators and casts of color like Insecure, Atlanta, Dear White People, and Master of None. Through their analysis, they demonstrate the ways these non-white-centric shows negotiate prestige TV’s dominant aesthetics of whiteness and push back against the centering of white suffering in a time of cultural crisis. Through the lens of media analysis and feminist cultural studies, Nygaard and Lagerwey’s book opens up new ways of looking at contemporary television consumption—and the political, cultural, and social repercussions of these “horrible white people” shows, both on- and off-screen.

Worldwide Women Writers in Paris examines a new literary phenomenon consisting of an unprecedented number of women from around the world who have come to Paris and become authors of written works in French. It takes as its starting point a series of filmed interviews conducted in the French capital, a set of recorded conversations motivated by a desire to pay homage to these discrete voices and images at a moment characterized by impressive diversity. Their individual paths to France and to French are noteworthy, and these authors of different generations and varying places of origin emphasize their singularity. However, the juxtaposition of their reflections reveals that many have faced similar difficulties when learning the French language, adapting to life in France, and many have encountered forms of prejudice in the publishing world related to their ethnicity or gender. These challenges have led them, each in an idiosyncratic manner, to tackle tough topics in their work and to respond to adversity by finding effective creative expressions. Taken together, the innovations and interventions in oral and written form of these authors collectively contribute to significant change in the specialized score that is the Parisian literary landscape: Hélène Cixous (Algeria); Zahia Rahmani (Algeria); Leïla Sebbar (Algeria); Bessora (Belgium); Julia Kristeva (Bulgaria); Pia Petersen (Denmark); Maryse Condé (Guadeloupe); Eva Almassy (Hungary); Shumona Sinha (India); Chahdortt Djavann (Iran); Yumiko Seki (Japan); Evelyne Accad (Lebanon); Etel Adnan (Lebanon); Nathacha Appanah (Mauritius); Brina Svit (Slovenia); Eun-Ja Kang (South Korea); Anna Moï (Vietnam).

In Women's Activism and Feminist Agency in Mozambique and Nicaragua, Jennifer Leigh Disney investigates the contours of women’s emancipation outside the framework of liberal democracy and a market economy. She interviews 146 women and men in the two countries to explore the comparative contribution of women’s participation in subsistence and informal economies, political parties and civil society organizations. She also discusses military struggles against colonialism and imperialism in fostering feminist agency to provide a fascinating look at how each movement evolved and how it changed in a post-revolutionary climate.

From sites like Hollaback! and Everyday Sexism, which document instances of street harassment and misogyny, to social media-organized movements and communities like #MeToo and #BeenRapedNeverReported, feminists are using participatory digital media as activist tools to speak, network, and organize against sexism, misogyny, and rape culture. As the first book-length study to examine how girls, women, and some men negotiate rape culture through the use of digital platforms, including blogs, Twitter, Facebook, Tumblr, and mobile apps, the authors explore four primary questions: What experiences of harassment, misogyny, and rape culture are being responded to? How are participants using digital media technologies to document experiences of sexual violence, harassment, and sexism? Why are girls, women and some men choosing to mobilize digital media technologies in this way? And finally, what are the various experiences of using digital technologies to engage in activism? In order to capture these diverse experiences of doing digital feminist activism, the authors augment their analysis of this media (blog posts, tweets, and selfies) with in-depth interviews and close-observations of several online communities that operate globally. Ultimately, the book demonstrates the nuances within and between digital feminist activism and highlight that, although it may be technologically easy for many groups to engage in digital feminist activism, there remain emotional, mental, or practical barriers which create different experiences, and legitimate some feminist voices, perspectives, and experiences over others.

2020 Canadian Association for Latin American and Caribbean Studies (CALACS) Book Prize In post-1968 Mexico a group of artists and feminist activists began to question how feminine bodies were visually constructed and politicized across media. Participation of women was increasing in the public sphere, and the exclusive emphasis on written culture was giving way to audio-visual communications. Motivated by a desire for self-representation both visually and in politics, female artists and activists transformed existing regimes of media and visuality. Women Made Visible by Gabriela Aceves Sepúlveda uses a transnational and interdisciplinary lens to analyze the fundamental and overlooked role played by artists and feminist activists in changing the ways female bodies were viewed and appropriated. Through their concern for self-representation (both visually and in formal politics), these women played a crucial role in transforming existing regimes of media and visuality—increasingly important intellectual spheres of action. Foregrounding the work of female artists and their performative and visual, rather than written, interventions in urban space in Mexico City, Aceves Sepúlveda demonstrates that these women feminized Mexico’s mediascapes and shaped the debates over the female body, gender difference, and sexual violence during the last decades of the twentieth century. Weaving together the practices of activists, filmmakers, visual artists, videographers, and photographers, Women Made Visible questions the disciplinary boundaries that have historically undermined the practices of female artists and activists and locates the development of Mexican second-wave feminism as a meaningful actor in the contested political spaces of the era, both in Mexico City and internationally.

This intellectually vibrant volume is the first collection to deal with Australian celebrity in ways that account for both cultural and gendered specificities, demonstrating how gendered ways of imagining Australia are reinforced and contested in celebrity representations and self-presentations. Gender and Australian Celebrity Culture engages with celebrities across a diverse range of fields – actors, journalists, athletes, comedians, writers, and television personalities – and in doing so critically reflects upon different forms of Australian fame and the media platforms and practices that sustain them. Authors in this volume engage directly with pertinent issues relating to gender and sexuality, including celebrity feminism and the generative capacity of feminist rage; normative femininity and its instability; hegemonic masculinities; and queerness and its (in)visibility. Contributors also intervene in a number of ongoing debates in media and cultural studies more broadly, including those around the politics and affordances of digital media; whiteness and Australia’s colonial histories; celebrity labour; and methodologies for celebrity studies. This timely collection urges scholars of celebrity to attend further both to the gendered nature of celebrity culture and to local conditions of production and consumption. This book will be of key interest to researchers and graduate students in cultural studies, television and film studies, digital media studies, critical race and whiteness studies, gender and sexuality studies, and literary studies.

Heated debates about and insurgencies against female circumcision are symptoms of a disease emanating from a mindset that produced hierarchies of humans, conquered colonies, and built empires. The loss of colonies and empires does not in any way mitigate the ideological underpinnings of empire-building and the knowledge construction that subtends it. The mindset finds its articulation at points of coalescence. Female circumcision provided a point of coalescence and impetus for this articulation. Insisting that the hierarchy on which the imperialist project rests is not bipolar but multi-layered and more complex, the contributions in this volume demonstrate how imperialist discourses complicate issues of gender, race, and history. Nnaemeka gives voice to the silenced and marginalized, and creates space for them to participate in knowledge construction and theory making. The authors in this volume trace the travels of imperial and colonial discourses from antecedents in anthropology, travel writings, and missionary discourse, to modern configurations in films, literature, and popular culture. The contributors interrogate foreign, or Western, modus operandi and interventions in the so-called Third World and show how the resistance they generate can impede development work and undermine the true collaboration and partnership necessary to promote a transnational feminist agenda. With great clarity and in simple, accessible language, the contributors present complex ideas and arguments which hold significant implications for transnational feminism and development.

The book investigates the witch as a key rhetorical symbol in twentieth- and twenty-first century feminist memory, politics, activism, and popular culture. The witch demonstrates the inheritance of paradoxical pasts, traversing numerous ideological memoryscapes. This book is an examination of the ways that the witch has been deployed by feminist activists and writers in their political efforts in the twentieth century, and how this has indelibly affected cultural memories of the witch and the witch trials, and how this plays out in popular culture representations of the symbol through the twentieth and twenty-first centuries. Consequently, this book considers the relationship between popular culture and media, activist politics, and cultural memory. Using hauntological theories of memory and temporality, and literary, screen, and cultural studies methodologies, this book considers how popular culture remembers, misremembers, and forgets usable pasts, and the uses (and misuses) of these memories for feminist politics. Given the ubiquity of the witch in popular culture, politics and activism since 2016, this book is a timely examination of the range of meanings inherent to the figure, and is an important study of how cultural symbols like the witch inherit paradoxical memories, histories, and politics. The book will be valuable for scholars across disciplines, including witchcraft studies, feminist philosophy and history, memory studies, and popular culture studies.