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Pitching the Feminist Voice: a Critique of Contemporary Consumer Feminism

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Pitching the Feminist Voice: a Critique of Contemporary Consumer Feminism Western University Scholarship@Western Electronic Thesis and Dissertation Repository 11-3-2017 10:30 AM Pitching the Feminist Voice: A Critique of Contemporary Consumer Feminism Kate Hoad-Reddick The University of Western Ontario Supervisor Dr. Romayne Smith Fullerton The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Kate Hoad-Reddick 2017 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Film and Media Studies Commons, and the Women's Studies Commons Recommended Citation Hoad-Reddick, Kate, "Pitching the Feminist Voice: A Critique of Contemporary Consumer Feminism" (2017). Electronic Thesis and Dissertation Repository. 5093. https://ir.lib.uwo.ca/etd/5093 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This dissertation’s object of study is the contemporary trend of femvertising, where seemingly pro-women sentiments are used to sell products. I argue that this commodified version of feminism is highly curated, superficial, and docile, but also popular with advertisers and consumers alike. The core question at the centre of this research is how commercial feminism—epitomized by the trend of femvertising—influences the feminist discursive field. Initially, I situate femvertising within the wider trend of consumer feminism and consider the implications of a marketplace that speaks the language of feminism. Then, through detailed content analysis of advertising by brands like Dove, Secret, CoverGirl, and Barbie, examples of this trend are identified, defined, and analyzed. Theory rooted in feminist media studies such as Rosalind Gill’s commodity feminism, Myra MacDonald’s description of recuperation, and Johnston & Taylor’s idea of consumer feminism are applied and extended in this analysis. Canonical media theory is also deployed, specifically the notion of hegemony and counter-hegemony set out by Antonio Gramsci and Zygmunt Bauman’s understanding of contemporary consumer culture. Next, I apply the theoretical metaphor of ventriloquism to the concept of femvertising to access the deeper, rhetorical appeal of these commercials. This metaphor, described as a gendered dynamic by Helen Davies, illuminates how patriarchal consumer culture throws its voice to consumer feminism; in this way, the concept suggests that instances of femvertising are inherently patriarchal. Finally, the work explores other forms of marketable feminism, specifically the celebrity feminism of Beyoncé, Emma Watson, and Tina Fey. Here, I borrow Roxanne Gay’s phrase, “the gateways” to feminism, to question whether a commodified feminism that is wielded for profit is an appropriate entrée to an inherently political social movement. In the final chapter, the discussion explores the wider historical commodification of feminism to argue that the freedom many North American women enjoy is rooted in their value as consumers. The dissertation concludes by calling out femvertising as a problematic trend, one that fetishizes and domesticates the feminist movement, and one that ultimately limits future feminist action if, as I argue, the marketplace continues to be a significant voice in feminist discourse. Keywords Feminism; Feminist Discourse; Femvertising; Capitalism; Ventriloquism; Consumer Culture; Advertising; Hegemony ii Acknowledgements A decade ago, I entered the Media, Information and Technoculture program and didn’t look back. When applying to Ph.D. programs, I remember a conversation in which Tim Blackmore encouraged me to return to Western for my doctoral studies. “Your people are here, Kate.” He was right. I would like to thank my supervisor, Romayne Smith Fullerton, for her unwavering, enthusiastic, and thoughtful commitment to this project. Romayne imbued me with the knowledge, confidence, and tenacity I needed to complete this journey. Her commitment to my education, professional development, and well-being has been a tremendous gift. I cannot imagine a better supervisor, mentor, and friend to guide me through these four years. I would also like to thank Kim Solga for being an invaluable resource on this project. Kim’s lightening-fast, detailed, and expressive feedback was a key factor in helping me finish this thesis. Special thanks must also be paid to my examination committee for their time, passion, and feedback: Nick Dyer-Witheford, Susan Knabe, Shauna Pomerantz (Brock University), and Kim Verwaayen. Thank you for a rigorous and productive defense and for guiding me toward an improved final product. I would also like to extend thanks to many other professors who helped guide me through my Ph.D. Specifically, I would like to thank Sasha Torres for her careful and intelligent feedback on my thesis proposal; Edward Comor for helping lay the theoretical groundwork that got me through my core comprehensive exams; Eric Lohman for his good advice and warmth; Carole Farber for being such a positive supporter of my education, and of course, Tim Blackmore for a decade of championing my academic and personal success. Significant thanks are also owed to the administrators who helped me navigate FIMS’s Ph.D. program at Western. Thank you to Dean Tom Carmichael, Pam McKenzie, Shelley Long, Louise Jackman, and Liliane Dang for all their tireless work. Even bigger thanks to iii Cindy Morrison for answering all my emails (and there were many) and for always putting students first. There are so many friends to thank for their kindness and patience as I trudged my way through this process. Here, I want to make special mention of Amy Freier, my Ph.D. comrade who supported and pushed me in more ways than she knows. I would also like to thank Ashling Ligate for cheering me on at every step. And to Emily van Dop for always being my sounding board. And finally, thanks to my family for their unwavering support. Coming from a family of teachers, I was taught at an early age that educational opportunities are a gift. This lesson came loud and clear from my late-grandfather, Harold Munn, who immigrated to Canada from Wales in 1953 to give his future family endless opportunities. I want to thank my mom, Susan, for encouraging me to apply for Ph.D. programs when I didn’t think I was ready; every day, she teaches me about resilience, hard work, and steadfast love. My dad, Adrian, continues to help me be luminous even in the toughest times. My dad’s love of ideas, education, and excellence have been paramount in my life. Finally, immense thanks are owed to my brother Matthew for coming along to the university fair in 2007 and insisting I visit the booth that looked like a castle. Without him, I may have never found the opportunities waiting for me at Western. My family’s love and support are the reason I am the person I am today and for this, there will never be enough acknowledgements. Julien Dulude came into my life just as I was moving to London to start my Ph.D. Throughout the past four years, he has been the only person with the ability to keep me going during the difficult and lonely days of comprehensive exams and dissertation writing. It was Julien who made me countless cups of fortifying tea and reminded me everyday that I was on the right path. His love, patience, and encouragement throughout this process shows me that we are on the right path together. iv Table of Contents Abstract .................................................................................................................................. i Keywords ............................................................................................................................... ii Acknowledgments ................................................................................................................. iii Table of Contents ................................................................................................................... v List of Appendices ................................................................................................................. vii Introduction | You’ve Come a Long Way, Baby? Prologue: The Inspiration ............................................................................................. 1 Chapter Overview ........................................................................................................ 3 Research Positioning & Methodology ......................................................................... 4 Studying Culture and Self-Reflexivity ......................................................................... 7 Feminist Positioning ..................................................................................................... 9 Research Significance .................................................................................................. 12 Chapter 1 | Claiming Feminist Credentials: An Introduction to Femvertising Introduction .................................................................................................................. 14 Setting the Scene: Four Tableaus of Femvertising ...................................................... 14 Behind the Scenes: Dangerous Liaisons ..................................................................... 22 Defining a Femvertisement: The Campaign for Real Beauty
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