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Post-Feminism, Shaming, and Wedding-Themed Reality Television

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Post-Feminism, Shaming, and Wedding-Themed Reality Television Georgia State University ScholarWorks @ Georgia State University Communication Dissertations Department of Communication 5-11-2015 Post-Feminism, Shaming, and Wedding-Themed Reality Television Katharine P. Zakos Follow this and additional works at: https://scholarworks.gsu.edu/communication_diss Recommended Citation Zakos, Katharine P., "Post-Feminism, Shaming, and Wedding-Themed Reality Television." Dissertation, Georgia State University, 2015. https://scholarworks.gsu.edu/communication_diss/56 This Dissertation is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. POST-FEMINISM, SHAMING, AND WEDDING-THEMED REALITY TELEVISION by KATHARINE P. ZAKOS Under the Direction of Edward J. Friedman, PhD ABSTRACT This project combines elements of textual analysis, feminist criticism, and media reception studies to examine wedding-themed reality television programming. Drawing on feminist media studies, television studies, and new media studies, this project investigates identity construction through wedding-themed reality television in three case studies: the renegotiation of icons of traditional femininity on Say Yes to the Dress, the policing of female behavior and perceived unruliness through Bridezillas, and the depiction of female labor in celebrity culture through three weddings featured on Keeping Up with the Kardashians. These three case studies deal with unique yet ultimately interconnected themes of gender identity construction and management. I argue that post-feminist ideologies are instrumental in shaping the way that identity is constructed through advocating specific behaviors and shaming others in three key areas: hyper-consumerism, the pursuit of pseudo-celebrity status, and the reinforcement of traditional gender norms. These themes appear in varied forms and function in different ways across the three case studies. In addition, shaming is enacted in the programs and displayed in the audience response to those programs via social media in three ways: subtle discouragement, containment, and pseudo-resistance. This study begins with a close reading of the three television programs, followed by a reception study of the related conversations taking place on the social media platform Twitter to examine how the textual themes are being understood and discussed by viewers. INDEX WORDS: Identity, Gender, Post-feminism, Consumption, Popular culture, Reality TV, Weddings, Wedding Industrial Complex, Social media, Twitter, Shaming, Trolling, Celebrity POST-FEMINISM, SHAMING, AND WEDDING-THEMED REALITY TELEVISION by KATHARINE P. ZAKOS A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctorate of Philosophy in the College of Arts and Sciences Georgia State University 2015 Copyright by Katharine P. Zakos 2015 POST-FEMINISM, SHAMING, AND WEDDING-THEMED REALITY TELEVISION by KATHARINE P. ZAKOS Committee Chair: Edward J. Friedman Committee: M. Lane Bruner Kathryn H. Fuller-Seeley Marian J. Meyers Alisa H. Perren Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University May 2015 iv DEDICATION For those we’ve lost along the way. v ACKNOWLEDGEMENTS I would like to thank my mentors at Georgia State University for all of their help and guidance during this journey, including Ted Friedman, Michael Bruner, Kathy Fuller-Seeley, Marian Meyers, and Alisa Perren. I am eternally grateful for the extensive feedback provided on countless drafts of this manuscript, as well as the invaluable advice and support provided along the way. In addition, I have to thank the esteemed Dr. Thunder for showing me the ropes and for his continued willingness to lend an ear. I must also express my infinite gratitude to my friend T.J. who was there when all this started and provided a much needed sounding board in the early days of this project—I feel your absence every day and I wish you were here. I would also like to thank my family for their never-ending support, and for never allowing me to lose hope, even in the darkest of times. You are always there for me, and never fail to make me laugh when I need it the most. In addition, Dr. Boo deserves an extra-special shout out for making the long trip down and keeping me company on many all-nighters. Without the circle of trust none of this would be possible. Finally, I want to thank my partner Rick, who has always believed in me even when I was no longer sure if I still believed in myself. You are my Sam, my Yul, and my Mickey; thank you for never letting me lose sight of the big picture, and for making sure I had some fun along the way. vi TABLE OF CONTENTS ACKNOWLEDGEMENTS ......................................................................................................... v 1 INTRODUCTION................................................................................................. 1 1.1 Literature Review ................................................................................................ 4 1.1.1 Feminist Media Studies .................................................................................. 4 1.1.2 Feminist Television Criticism ......................................................................... 6 1.1.3 Post-feminism .................................................................................................. 9 1.1.4 Reality TV ...................................................................................................... 12 American Wedding Culture and Wedding-Themed Reality TV ......................... 14 1.1.5 ........................................................................................................................... 14 1.1.6 Contemporary Interactive Media and Convergence .................................... 21 1.1.7 Shaming ......................................................................................................... 23 1.2 Methods of Analysis .......................................................................................... 27 1.2.1 Feminist Ideological Criticism ..................................................................... 28 1.2.2 Textual Analysis ............................................................................................ 29 1.2.3 Social Media Reception Study ...................................................................... 29 1.2.4 Television Studies Approach ........................................................................ 30 1.2.5 Methodological Models for the Present Study ............................................. 31 1.3 Chapter Outlines ............................................................................................... 31 vii 2 THE WEDDING INDUSTRIAL COMPLEX, OR HOW WE’VE LEARNED TO STOP WORRYING AND SAY YES TO THE DRESS ..................................................... 32 2.1 Sociohistorical/Institutional Context ............................................................... 33 2.2 Creating the Perfect Wedding through Consumption ................................... 34 2.3 The Importance of Femininity and Traditional Gender Norms ................... 36 2.3.1 The Fairytale Princess .................................................................................. 37 2.3.2 The People-Pleaser ....................................................................................... 38 2.3.3 The Silly Goose.............................................................................................. 39 2.3.4 The Damsel in Distress ................................................................................. 41 2.3.5 The Big Girl ................................................................................................... 42 2.3.6 The Nontraditional Bride.............................................................................. 43 2.3.7 The Rebel ....................................................................................................... 45 2.4 Audience Reception via Social Media .............................................................. 48 2.4.1 General Trends .............................................................................................. 49 2.4.2 Positive Tweets .............................................................................................. 52 2.4.2.1 General love of the show ........................................................................ 53 2.4.2.2 Love of the dresses ................................................................................. 53 2.4.2.3 Love of the narrative/emotional content ................................................ 54 2.4.2.4 Love of consumerism .............................................................................. 54 2.4.2.5 Love of the staff/guest stars .................................................................... 55 2.4.2.6 Desire to go dress shopping/wear a wedding dress ............................... 55 viii 2.4.2.7 Desire to get married ............................................................................. 56 2.4.2.8 Desire to work in a bridal salon ............................................................ 56 2.4.2.9 Sharing quotations from the show .......................................................... 56 2.4.3 Negative Tweets ............................................................................................
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