Everyday Intimacies: the Politics of Respectability in Post
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EVERYDAY INTIMACIES: THE POLITICS OF RESPECTABILITY IN POST- RECESSIONARY SOUTHERN REALITY TELEVISION by CHELSEA BULLOCK A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2014 DISSERTATION APPROVAL PAGE Student: Chelsea Bullock Title: Everyday Intimacies: The Politics of Respectability in Post-Recessionary Southern Reality Television This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of English by: Carol Stabile Chairperson Priscilla Ovalle Core Member Bish Sen Core Member Kate Mondloch Institutional Representative and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2014. ii © 2014 Chelsea Bullock iii DISSERTATION ABSTRACT Chelsea Bullock Doctor of Philosophy Department of English June 2014 Title: Everyday Intimacies: The Politics of Respectability in Post-Recessionary Southern Reality Television Rather than taking a broad genre-based approach to analyzing reality television as digital media, this dissertation understands the field of reality programming as operating within a new media model and as composed of micro-genres. My project specifically explores the “intimate” micro-genre, considering the politics of respectability and gendered labor as foundational elements in what is a particularly fertile and volatile site of meaning- making. Grounding my analysis in a comprehensive map of reality programming allows me to explore a pattern of politically rich programs set in the South. Shows such as Duck Dynasty, Here Comes Honey Boo Boo, and Real Housewives of Atlanta offer insight into the circulation and currency of race, class, and gender with significant theoretical implications for an economically and politically unstable national moment. Using an intersectional lens to investigate reality television, my project seeks to better understand the gears driving our cultural anxieties and media trends through an analysis of digital paratexts, branding, labor, and affect. iv CURRICULUM VITAE NAME OF AUTHOR: Chelsea Bullock GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene Columbus State University, Columbus, Georgia DEGREES AWARDED: Doctor of Philosophy, English, 2014, University of Oregon Bachelor of Arts, English Language Literature, 2008, Columbus State University AREAS OF SPECIAL INTEREST: Television Studies and Media Studies Feminist Media Theory and New Media Theory PROFESSIONAL EXPERIENCE: Teaching Fellow, English, 2008-2011 and 2013-14 Research Fellow, Center for the Study of Women in Society, 2011-13 GRANTS, AWARDS, AND HONORS: Graduate School Research Award, University of Oregon, 2013 Travel Grants, Department of English, University of Oregon, 2008-12 and 2014 Travel Grants, Center for the Study of Women in Society, University of Oregon 2011 and 2014 Graduate Research Award, Department of English, University of Oregon, 2010 Magna cum Laude, Columbus State University, 2008 PUBLICATIONS: Bullock, Chelsea. Interview with Professor Rachel Dubrofsky. “Books Aren’t Dead: The Surveillance of Women on Reality Television.” Fembot Collective: 2 April 2013. Bullock, Chelsea. “The Labor of Intimacy in the Affective Marketplace of The Real v Housewives of Atlanta.” In Media Res: 17 May 2013. Bullock, Chelsea. “‘This is an unstable environment.’: Teen Mom 2 and Class.” In Media Res: 16 November 2012. vi ACKNOWLEDGMENTS I am thankful for the abundance of support I have received over the course of completing this project. The Department of English and the Center for the Study of Women in Society provided support that made this project possible. I am appreciative of my committee members, Bish, Kate, and Priscilla, for their guidance and patience. Bethany, Katie, Jeni, Lisa, Jenny, Sarah Ray, Mary, Veronica, Caroline, and Dan, thank you for listening to the most cliché of complaints with graciousness. Thank you for hours of conversation about my work, thank you for sharing yours with me, and for thank you for pretending to care what happened last night on Bravo. To my family, thank you for your support as evidenced through hundreds of washed dishes, new bags every Fall, and grueling cross-country travel. Mom and Danny, thank you for filling my childhood with books and your ongoing encouragement. Dad and Janie, thank you for your unwavering support and good humor. Amos, thank you for being my #1 cheerleader forever. I love all y’all. Phoebe and Kristen, your support has kept me going. I am so lucky to have such lovely, intelligent, and hilarious friends. You inspire, encourage, and delight me. I am especially grateful for the times when your confidence in my work was greater than my own. Carol, thank you for being my teacher, my advocate, and my friend. Thank you for your transparency, your warmth, and your generosity. Thank you for openly modeling for me how to be a scholar, mentor, and human-person. I am especially grateful for our shared travels and for your unwavering faith in me. vii Steven, thank you for loving me when I was unlovable. Your endless support, humor, and trust saw me through. You’re my favorite reluctant Bachelor fan. Thanks for dreaming with me and knowing the way out of the nightmares. Thank you for filling me back up every time. Hobbes, you are the sunshine of my everyday. Your smile sustains me. viii For Steven and Hobbes. On to new adventures. I got you. ix TABLE OF CONTENTS Chapter Page I. INTRODUCTION .................................................................................................... 1 Micro-Genres, Intimate Programming, and the South ........................................... 1 Beyond Neoliberalism ........................................................................................... 7 A Brief History of Reality Television Scholarship ................................................ 9 Neoliberalism, Defined and Applied ..................................................................... 13 Expanding the Frame: Considerations of Identity, Power, and Melodrama .......... 18 The Southern Turn: Political Drama ...................................................................... 21 The Intimate Micro-Genre ..................................................................................... 24 II. MAPPING REALITY TV: HISTORICAL AND CULTURAL CONTEXTS ....... 29 History of the Reality Telegenre ............................................................................ 29 Cultural Context for Contemporary Micro-Genres ................................................ 35 Characterizations and Analyses of Micro-Genres ................................................. 40 Competitive ...................................................................................................... 41 Crime .............................................................................................................. 45 Intervention ...................................................................................................... 48 Workplace ........................................................................................................ 50 Intimate ............................................................................................................ 53 Culture-Work and Ideology in Southern Reality Television ................................. 57 III. DUCK DYNASTY: WHITENESS AND FAMILY VALUES ............................... 60 Industrial and Historical Context: The Post-Recession Boys’ Club ...................... 62 Geographic and Cultural Location: Imagining a Recreational, White South ........ 70 x Chapter Page Framing the Details: Beards, Blinds, and Bootstraps ............................................ 74 Codes of Likability and the Insularity of Southern Charm .................................... 80 Conclusion: Prescriptive Masculinity and Anti-Intellectualism ............................ 92 IV. HERE COMES HONEY BOO BOO’S POLITICS OF RESISTANCE AND SOLIDARITY .............................................................................................................. 96 The Anti-Southern Belle: Excessive Bodies and Melodrama ................................ 99 Uncontained by Neoliberalism: The Cultural (Dis)Respectability of Here Comes Honey Boo Boo ................................................................................................ 102 Resisting Fat-Shaming and Food Policing of Southern Belle-dom ....................... 106 No Millionaires, Hunters, Businessmen, or Missionaries: Inverting the Logic of Duck Dynasty ................................................................................................... 114 Resisting Inscribed Southern Family Values: Excesses of Vulgarity and Affection .......................................................................................................... 118 Matters of Visibility and Solidarity: Resisting an Exclusively Whitewashed and Homophobic South .......................................................................................... 121 Conclusions: Reimagining Coalition ..................................................................... 130 V. “GONE WITH THE WIND FABULOUS”: THE REAL HOUSEWIVES OF ATLANTA AND THE POLITICS OF RESPECTABILITY ........................................ 133 Gone with the Wind