Scourging the Abject Body: Ten Years Younger and Fragmented Femininity under Neoliberalism

Tincknell, Estella

doi:10.1057/9780230294523_6

Cited by 44 publications

(13 citation statements)

References 4 publications

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“…Useat tutkijat ovat tuoneet esille muutos ohjelmien yhteen nivoutumista kulutuskult tuurin kanssa (esim. Paasonen 2007;Doyle & Karl 2008;Tincknell 2011). Tässä artikkelissa käsiteltävä Vuosia nuoremmaksi sarja ei ole täs tä poikkeus: muutos "vanhalta" näyttävästä har maahiirulaisesta kohti nuorekkaan eleganttia kaunotarta mahdollistuu nimenomaan kulu tushyödykkeiden avulla.…”

Section: Taustaaunclassified

Iällä leikittelyä tv-sarjoissa Vuosia nuoremmaksi ja Meidän tarina

Varjakoski

2020

gerontologia

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Artikkeli analysoi kahta suomalaista televisiosarjaa, joissa muuttumisleikin avulla muokataan osallistujista joko nuoremman tai vanhemman näköisiä. Tutkimus lähestyy aineistoa leikin näkökulmasta ja tarkastelee millä eri tavoin analysoitavissa tv-sarjoissa muokataan (muuttumis)leikin nimissä ikääntyviä ruumiita sosiaalisesti ja kulttuurisesti hyväksyttyihin muotoihin sekä rakennetaan elämän jälkipuoliskoon liittyviä kulttuurisia odotuksia, joista ikääntymisen väistämättömyydet on pitkälti pyyhitty pois. Leikin ambivalenssi luonne nousee pintaan etenkin käsiteltäessä raskaita ja ehkä pelottaviakin aiheita, kuten omaa ikääntymistä ja elämän rajallisuutta, sekä arvotettaessa ”vanhalta” näyttävää ruumista ”rumaksi” ja ongelmalliseksi tavalla, joka voi satuttaa ja loukata. Tämän lisäksi artikkeli pohtii, millaisia uusia näkökulmia leikin käsite voisi avata tapoihin, joilla ymmärrämme ikää, koska tv-sarjojen muuttumisleikeissä on kyse myös iällä leikittelystä. Tutkimuksessa ikä avautuu leikin käsitteen kautta jatkuvasti liikkeessä olevana ja muuntuvana. Leikki mahdollistaa uusia iän esittämisen ja tekemisen tapoja, leikittelyn eri-ikäisyyksillä ja liikkumisen iän jatkumolla edes takaisin.

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Section: Taustaaunclassified

Iällä leikittelyä tv-sarjoissa Vuosia nuoremmaksi ja Meidän tarina

Varjakoski

2020

gerontologia

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“…Accordingly, even while celebrities can be understood as embodying forms of iconic and idealised individuality, postfeminismnot simply as a representational context, but as a context of interactive receptiongenerates particularly intensified forms of surveillance of female celebrity. This context of interactive reception is visible in entertainment formats such as reality television (Roberts 2007, Ringrose and Walkerdine 2008, McRobbie 2009, Ouellette 2009, Tincknell 2011, Skeggs and Wood 2013 and the tabloid magazine (Holmes and Negra 2008), in which audiences are invited to police and evaluate the feminine worth of celebrities and those seeking celebrity. Those who fail to observe the markers of successful postfeminist femininityslim, white, youthful standards of beauty; the 'work/life' balance; or possessing a faithful, heterosexual partnerare offered up for the audience's disciplinary viewing pleasure (see, for example, Press 2011, Watkins Fisher 2011, Skeggs and Wood 2013.…”

Section: The Intersections Of Postfeminism Celebrity and Authenticitymentioning

confidence: 99%

“…Young women must be seen to be economically productive, in terms of paid work, and also in investing in the self, as a brand (Banet-Weiser 2012). Notably, this labour on the self must often take the form of 'care' or work on the body, which is seen as synecdochal for the fitness of the self brand overall (Gill 2007, Ringrose and Walkerdine 2008, Tincknell 2011. I suggest that in the blogs Lawrence signals the right amount of transgressive potential in navigating this requirement demanded of young women across professional and personal domains of life.…”

Section: Sampling Jennifer Lawrence's 'Realness'mentioning

confidence: 99%

Jennifer Lawrence, remixed: approaching celebrity through DIY digital culture

Kanai

2015

Celebrity Studies

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remixed: approaching celebrity through DIY digital culture Akane Kanai To cite this article: Akane Kanai (2015) Jennifer Lawrence, remixed: approaching celebrity through DIY digital culture, Celebrity Studies, 6:3, 322-340,This article seeks to interrogate the relationship between two gendered aspects of celebrity: the way in which female celebrities are used to determine normative femininity in a postfeminist regulatory environment, and the way their audiences are primarily imagined as young and female. I aim to consider the intersections of this relationship by conducting an analysis of the discursive and affective practices of a feminine digital public where displays of digitally remixed culture are used to enact identity. Consisting of the circulation of self-representative 'GIF reaction' blogs authored by young women on blogging social network Tumblr, I analyse how popular young actress Jennifer Lawrence is discursively and affectively sampled and remixed by these bloggers. These blogs match GIF (or .gif) images excerpted from film, television and other popular culture with self-authored captions to construct narratives of youthful femininity documenting feelings and reactions to quotidian situations. I draw together celebrity studies work and the work of feminist scholars of online identity to ask how young women, as subjects who are addressed by celebrity as a vehicle for broader, postfeminist narratives, use Lawrence's gendered, affective labour in their own identity work in a social, digital environment. Here, the blogs reuse and reconstruct Lawrence's skilful affective navigation of postfeminist demands and her celebrity signification of carefree and fun authenticity in narrating the bloggers' own negotiations of femininity.

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“…Hence, the series challenge the logic of "acting one's age" (Russo, 1999) and off er alternative representations of the ageing female in which toned-down age appropriateness (Wearing, 2007;Twigg, 2013) does not apply but, rather, is replaced by Article: Th e look of aging: Agelessness as post-feminist cool? Anne Jerslev the slim body's display of agency, individuality and self-conscious "to-be-looked-at-ness" (Ticknell, 2011). On the other hand, the lack of references to ageing raises the question of whether these series, in fact, construct a new form of ageism in which a norm of ageless ageing is promoted.…”

Section: Th E Seriesmentioning

confidence: 99%