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Feminist Theory and Pop Culture Feminist Theory and Pop Culture Adrienne Trier-Bieniek - 9789004414259 Downloaded from Brill.com10/02/2021 07:54:40PM via free access Teaching Gender Series Editor Patricia Leavy (USA) International Editorial Board Tony E. Adams (Northeastern Illinois University, USA) Paula Banerjee (University of Calcutta, India) Nitza Berkovitch (Ben Gurion University, Israel) Robin Boylorn (University of Alabama, USA) Máiréad Dunne (University of Sussex, UK) Mary Holmes (University of Edinburgh, UK) Laurel Richardson (Ohio State University (Emerita), USA) Sophie Tamas (Carleton University, Ottawa, Canada) Scope Teaching Gender publishes monographs, anthologies and reference books that deal centrally with gender and/or sexuality. The books are intended to be used in undergraduate and graduate classes across the disciplines. The series aims to promote social justice with an emphasis on feminist, multicultural and critical perspectives. Please consult www.patricialeavy.com for submission requirements (click the book series tab). VOLUME 13 The titles published in this series are listed at brill.com/gend Adrienne Trier-Bieniek - 9789004414259 Downloaded from Brill.com10/02/2021 07:54:40PM via free access Feminist Theory and Pop Culture Second Edition Edited by Adrienne Trier-Bieniek අൾංൽൾඇ_ൻඈඌඍඈඇ Adrienne Trier-Bieniek - 9789004414259 Downloaded from Brill.com10/02/2021 07:54:40PM via free access All chapters in this book have undergone peer review. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov ISSN 2542-9205 ISBN 978-90-04-41423-5 (paperback) ISBN 978-90-04-41424-2 (hardback) ISBN 978-90-04-41425-9 (e-book) Copyright 2019 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, %ULOO1LMKR൵%ULOO5RGRSL%ULOO6HQVH+RWHL3XEOLVKLQJPHQWLV9HUODJ9HUODJ Ferdinand Schöningh and Wilhelm Fink Verlag. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. This book is printed on acid-free paper and produced in a sustainable manner. Adrienne Trier-Bieniek - 9789004414259 Downloaded from Brill.com10/02/2021 07:54:40PM via free access ADVANCE PRAISE FOR FEMINIST THEORY AND POP CULTURE (SECOND EDITION) “This excellent anthology groups feminism as articulated through four waves and features feminists responding to pop culture, while recognizing that popular culture has responded in complicated ways to feminisms. Contributors proffer lucid and engaging critiques of topics ranging from belly dancing to Fifty Shades of Grey, Scandal, and Orange is the New Black. This book is a good read as well as an excellent text to enliven and inform in the classroom.” – Jane Caputi, Professor of Women, Gender, and Sexuality Studies and Communication & Multimedia at Florida Atlantic University “Feminist Theory and Pop Culture is destined to be as popular as the culture it critiques! The text plays up the paradoxes of contemporary feminism and requires its readers to ask difficult questions about why the popular brings us pleasure. It is a diverse analysis of women’s representations across an impressive swath of popular culture. Feminist Theory and Pop Culture is the kind of text that makes me want to redesign my pop culture course.” – Ebony A. Utley, author of Rap and Religion Adrienne Trier-Bieniek - 9789004414259 Downloaded from Brill.com10/02/2021 07:54:40PM via free access For Dr. Kathleen Underwood, the woman we should all aspire to be Adrienne Trier-Bieniek - 9789004414259 Downloaded from Brill.com10/02/2021 07:54:40PM via free access CONTENTS Acknowledgements xi Introduction xiii Adrienne Trier-Bieniek 1. Unveiling the Gaze: Belly Dance as a Site of Refuge, Re-Envisioning and Resistance 1 Angela M. Moe 2. Lena Dunham, GIRLS, and the Contradictions of Fourth Wave Feminism 21 April Kalogeropoulos Householder 3. Olivia Pope as Problematic and Paradoxical: A Black )HPLQLVW&ULWLTXHRI6FDQGDO¶V³0DPPL¿FDWLRQ´ Rachel Alicia Griffin 4. 7KH³8Q4XLHW4XHHQ´$Q$QDO\VLVRI5DSSHU1LFNL 0LQDMLQWKH)DPH&RPLF%RRN Melvin L. Williams and Tia C. M. Tyree 5. Queerness (Un)Shackled: Theorizing Orange Is the New Black Lauren J. DeCarvalho and Nicole B. Cox 6. Warning! Social Construction Zone: Exploring Masculinities, )HPLQLQLWLHVDQG*HQGHU5ROHVLQ&RS6KRZV Carrie L. Buist and Jean-Anne Sutherland 7. Girl Rising and the Problematic Other: Celebritizing Third :RUOG*LUOKRRGV Emily Bent 8. Paradoxes of Postfeminism: Coercion and Consent in Fifty Shades of Grey 125 Patricia R. Boyd ix Adrienne Trier-Bieniek - 9789004414259 Downloaded from Brill.com10/02/2021 07:54:40PM via free access CONTENTS 9. From Street to Tweet: Popular Culture and Feminist Activism 139 Jenn Brandt and Sam Kizer Additional Reading 155 Notes on Contributors 159 x Adrienne Trier-Bieniek - 9789004414259 Downloaded from Brill.com10/02/2021 07:54:40PM via free access ACKNOWLEDGEMENTS 7KDQN\RXWRHYHU\RQHDW%ULOO_6HQVH-RKQ%HQQHWWDQG3DXO&KDPEHUVDQG to Patricia Leavy for creating and supporting the Teaching Gender series. 7KDQN\RXWKDQN\RXWKDQN\RXWR-RODQGD.DUDGD7KDQN\RXWRHYHU\ contributor for sharing their expertise and talent. It is truly an honor to have you be a part of this work and to have you as a colleague. I thank my colleagues, mentors, and friends, Chastity Blakenship, Carrie %XLVW 0LFKDHO *LOOHVSLH -HVVLFD +XEEDUG 0DUOHQH .RZDOVNL%UDXQ Random Messesder, Angie Moe, Lee Paulsen, Chanda Postell, Catherine 6KHLND .LP 7D\ORU -XG\ :KLSSV 7ULVKD :KLWPLUH -HQ :LOHV DQG %HD Yarbrough. I also thank my family, especially my aunt Claudia Sperti, who always has my back. Thank you to all the Trier’s, Sperti’s, Bieniek’s, and Reed’s. Thanks to Adelina Sheika for being born to Catherine and Vadzim while I worked on this edition. #futurefeminist Thank you Tim Bieniek for all the unconditional love. Thanks to my Charlie for laying at my feet while I wrote. And thank you Clara Danvers Trier-Bieniek for needing a home just when we needed you. Thank you Dr. Kathleen Underwood for your tireless pursuit of equality and your unshakable ability in the face of injustice. Truly, I hope to one day be as incredible as you. xi Adrienne Trier-Bieniek - 9789004414259 Downloaded from Brill.com10/02/2021 07:54:40PM via free access ADRIENNE TRIER-BIENIEK INTRODUCTION The problem with gender is that it prescribes how we should be rather than recognizing how we are. – Chimamanda Ngozi Adichie Sisters, you are here to learn to serve, to fight, to be fierce, to be fearless. – Aneka, to the Dora Milaje initiates in Black Panther: World of Wakanda Recently, several moments in media have indicated that feminism is alive and well in popular culture. Thanks to streaming services coupled with network television, shows such as Shrill, Orange is the New Black, Parks and Recreation, Scandal, One Day at a Time, 30 Rock, The Mindy Project, Unbreakable Kimmy Schmidt, and Superstore have given viewers exposure to smart, funny and diverse women and men. In music, one doesn’t have to look any further than Beyoncé standing in front of a massive sign reading “Feminist” while performing at the 2014 MTV Video Music Awards. A statement that, as Amanda Morcotte from Slate notes, in an image-driven culture where the five second sound bite rules and meme’s are more popular than books, the image of Beyoncé declaring her feminism to the world just felt amazing. What may have had the largest feminist impact on popular culture in recent memory comes from a duo of super hero films, 2017’s Wonder Woman and 2019’s Captain Marvel. Wonder WomanGLUHFWHGE\3DWWL-HQNLQVDQG staring Gal Gadot, was an unrivaled success when it hit theaters. As Angela -DGH%DVWLHQGHVFULEHVWKHFKDUDFWHU Wonder Woman has always been at her best when her stories lean into the feminist ethos at her core. When artists treat her compassion as the key to understanding her – rather than her brutality in battle – audiences are privy to a superhero who offers what no other can: a power fantasy that privileges the interiority and desires of women. (2017, para. 1) xiii Adrienne Trier-Bieniek - 9789004414259 Downloaded from Brill.com10/02/2021 07:54:40PM via free access A. TRIER-BIENIEK In the book The Secret History of Wonder Woman-LOO/HSRUHFKURQLFOHVWKH history of the character and the man who created her. She writes, Wonder Woman isn’t only an Amazonian princess with badass boots. She’s the missing link in a chain of events that begins with the woman suffrage campaigns of the 1910s and ends with the troubled place of feminism fully a century later. Feminism made Wonder Woman. (2015, p. xiii) For generations, Wonder Woman had been linked with feminist messages whether it was through the comic strip, or through the countless number of Wonder Woman merchandise available. And yet, when it came to film UHQGLWLRQV RI -XVWLFH /HDJXH FKDUDFWHUV %DWPDQ DQG 6XSHUPDQ UHFHLYHG much more attention. When Gadot’s Wonder Woman makes her appearance in the 2016 film Batman vs. Superman, many people sat up in their seats at the introduction of a new warrior princess. (Even if she was only “new” to this series of films.) In 2017, upon the release of her own film, the audience was treated to more images of women warriors on screen than most people have seen in their lifetime. As the images of Amazonian women practicing their battle skills, juxtaposed with women in positions of political authority, and women leading the island of Themyscira, it became clear to the viewer that Wonder Women’s story stands on the shoulders of many iterations of femininity. Add to this the diversity present in the casting of the Amazon women, including Gadot, an Israeli actress, and audiences were treated to the power of intersectional images present on a screen.
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