Television crime series, women police, and fuddy-duddy feminism

Brunsdon, Charlotte

doi:10.1080/14680777.2011.652143

Cited by 30 publications

(24 citation statements)

References 18 publications

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“…Desde las políticas públicas se ha priorizado el desarrollo de las tecnologías policiales y judiciales entendidas como las principales herramientas para combatir la violencia de género, lo que incide en esa consideración de los sujetos-víctimas de la violencia como carentes de agencia, la cual únicamente puede restituirse a través de la acción del Estado (Gámez-Fuentes, 2012;. Este es un proceso que se produce también en las narrativas hegemónicas y patriarcales de la cultura popular en las que el sujeto-víctima queda a la deriva hasta que es rescatado por el sistema (Bullock, 2015;Brunsdon, 2013).…”

Section: El Discurso Hegemónico Sobre Violencia De Género Y Su Producunclassified

Celebrities, violencia de género y derechos de las mujeres: ¿hacia una transformación del marco de reconocimiento?

Fuentes

Nicolau

García³

2016

RLCS

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Abstracts[ES] Introducción. Ante los límites que presenta el actual marco de reconocimiento de la violencia de género, el presente trabajo analiza las posibilidades que abre la acción de celebrities en la transformación de este marco y en relación a la lucha por los derechos de las mujeres. Para ello proponemos el concepto de ethical witnessing. Metodología. Se propone un modelo de análisis a través de la operacionalización de dicho concepto para el estudio de prácticas representacionales que puedan desestabilizar los actuales parámetros de representación en aras de la resignificación del sujeto-víctima de la violencia. Las cuatro dimensiones de análisis son: el tipo de relación que se genera entre el sujeto-víctima y quien atestigua; el grado de transgresión de los modelos reificados de la identificación del sujeto-víctima; la focalización en la capacidad de agencia; y las conexiones que se establecen con las luchas por los derechos de las mujeres y con otras luchas. Este modelo se aplica a tres casos de estudio: las actuaciones musicales de Beyoncé, la entrevista periodística realizada a Carmen Maura y la campaña mediática de Emma Watson. Resultados. Se discuten las posibilidades de las prácticas discursivas que se incardinan en los principios del postfeminismo. Frente a la identidad de la mujer como víctima emerge la de la mujer exitosa que compatibiliza vindicación feminista y lucha contra la violencia de género con consumismo, materialismo y capitalismo. Esto permite desestabilizar la narrativa fijada sobre la violencia pero no llega a constituir una re-significación del marco en tanto que puede quedar co-optado por la ‗economía de -1123 | ISSN 1138-5820 | Año 2016 http://www.revistalatinacs.org/071/paper/1123/43es.html Página 834 las celebrities', ser absorbido por el feminismo liberal o estar desvinculado de la lucha colectiva, lo que dificulta la aprehensión del carácter compartido de la vulnerabilidad.Revista Latina de Comunicación Social # 071 -Páginas 833 a 852 Investigación | DOI: 10.4185/RLCS[EN] Introduction. Due to the limitations of the current framework of recognition of gender-based violence, this article analyses the possibilities of the actions performed by celebrities in the transformation of such framework and in the fight for women's rights. To this end, we propose the concept of -ethical witnessing‖. Methods. The study proposes an analytical model based on the operationalisation of this concept applied to the examination of the representational practices that may destabilise the current hegemonic configuration and re-signify the subject-victim relationship of violence. The four dimensions of analysis are: the relations generated between the subject-victim and the witness; the degree of transgression of the reified representational models of the subject-victim; the focus on agency; and the connection with women's fights for their rights and other social movements. This model is applied to three case studies: Beyoncé's musical performances; the interview with actress Carmen Maura, and Emma ...

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Section: El Discurso Hegemónico Sobre Violencia De Género Y Su Producunclassified

Celebrities, violencia de género y derechos de las mujeres: ¿hacia una transformación del marco de reconocimiento?

Fuentes

Nicolau

García³

2016

RLCS

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“…Among the latter, Ashes adapted its resident gender discourse, spanning the crisis, its aftermath and the onset of recession, thus morphing into an early example of 'recession television,' and would prove symptomatic of many of the Some scholars express or invoke dissatisfaction with the term "postfeminist," which, following Angela McRobbie, I understand as a gender discourse that at once accounts for and disavows feminism (McRobbie 2004, 255), as an all-encompassing means by which to conceptualize contemporary femininities, finding greater purchase in alternatives that speak to specific cultural iterations of femininity, like "neofeminist" or "girly" (Radner 2011;Brunsdon 2012). Others demonstrate the term's usefulness, discussing how formations of femininities and masculinities in contemporary media exist in a dialogic relationship (albeit frequently unspoken) with feminism, how this manifests, and how this makes for a postfeminist culture that tropes gender identities in meaningful ways, at odds with a feminist agenda, often despite surface discourse to the contrary (Gill 2007;Tasker and Negra 2007;Negra 2009;Gill and Scharff 2011).…”

Section: Continuum: Journal Of Media and Cultural Studiesmentioning

confidence: 99%

“…Charlotte Brunsdon (2012) discusses Murder in Suburbia and The Ghost Squad alongside "postfeminist television culture" (14), differentiating them as follows.…”

Section: Ashes To Ashes and Uk Television's Postfeminist Detectivesmentioning

confidence: 99%

‘Don't let him take Britain back to the 1980s’:Ashes to Ashesas postfeminist recession television

Hamad

2014

Continuum

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This article interrogates postfeminism and recessionary discourse in the time travel police series Ashes to Ashes (BBC, 2008(BBC, -2010. Viewing the series as an early example of 'recession television,' it explores how the resident gender discourse of postfeminism established in the pre-recession first series, and attendant cultural priorities, shifted over time in tandem with the onset of recession, following the 2008 global financial crisis, and in line with tendencies of emergent recessionary media culture. In early episodes it over-determines the characterization of female detective protagonist Alex Drake as a postfeminist subject, drawing her to well-worn cultural scripts of femininity. Later this gives way to the discursive centralization of her boss, Gene Hunt, already an iconic figurehead of recidivist masculinity from the earlier Life on Mars (BBC, 2006(BBC, -2007, one of several gendered responses to the drastically changed economic environment in which the series was produced and received.

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“…Just as the inclusion of female detectives within crime drama has been celebrated for being reflective of social change (Brunsdon 2013;Fiske [1987] As already discussed, several theorists have called for television characters with disability to appear as more 'ordinary'; that is, taking on the mundane aspects of everyday life, participating in activities the audience can identify with, or do themselves. Francis Bonner describes 'ordinary' television as having 'a claim on reality ' (2003: 3).…”

Section: Disability and The Crime Genrementioning

confidence: 99%

“…He identifies a mode of research that explores the ways television crime texts offer a cultural reworking of morally ambiguous issues as particularly problematic (Doyle 2006). The observation that these programmes reflect shifting social values (Brunsdon 2013;Jermyn 2013;Tasker 2012) also holds significance to disability theorization surrounding this genre.…”

Section: Disability and The Crime Genrementioning

confidence: 99%

Disability in television crime drama: Transgression and access

Ellis

2015

Journal of Popular Television, The

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Crime is one of the most persistent genres in recent television history. Disability is a narrative device often used in this genre to provide information and motivation for criminals, increase the vulnerability of victims and in some cases attribute almost superhuman powers of deduction to the lead investigators. As such, the most common analysis of these images relies on the identification and criticism of stereotypes. Yet as recent theorization in disability studies argues, focusing on negative stereotypes has seen research into disability and television stagnate. Proceeding from the argument that it is important to consider both representation and accessibility in any study of disability and television, research into Australian audiences with disabilities was held to discover what they thought about both the representation of disability on television and the potential for alternative modes of access.The crime drama emerged as a popular genre amongst people with disabilities. Responses to this question reveal impairments have a material impact on the kinds of television people with disability are able to enjoy watching. This is in contrast to prior research into disability and television, which identifies crime genres as a disabling representation of disability. These insights reveal that forms of storytelling are important and indeed acknowledged by the disability community, who seek out popular forms of television despite television's traditional role in subordinating this group and excluding them from participating in the industry. This article examines critical disability approaches to the televisual crime genre in light of the need for further research. It begins by outlining three approaches taken by disability studies to the study of disability and television: content analysis; audience research; inaccessibility. It then discusses the particularities of the crime genre, particularly with reference to social change and minority group interests.To do so this article draws on three case studies of television crime drama that signal future directions for research into disability on television. First, proceeding from Rebecca 'murder, violence, and danger' (1982: 33) along an extensive cultural history going back to the early nineteenth century. They further added that these portrayals contribute to the public's negative attitudes towards people with disability. In his later work on freak shows Bogdan reflected on his entry to the field of disability studies as being prompted by his son's observation regarding villainous characters on television; 'if they look bad they are bad' (Bogdan 1990: vii). Television effects theorists have similarly argued that the negative symbolism characteristic of this genre has a cumulative effect on audiences (Gerbner 1970).Guy Cumberbatch and Ralph Negrine's (1992) content analysis of disability on prime time television over a six-week period remains the most comprehensive study of disability and television to date. They focused on identifying stereotypes and inconsis...

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Television crime series, women police, and fuddy-duddy feminism

Cited by 30 publications

References 18 publications

Celebrities, violencia de género y derechos de las mujeres: ¿hacia una transformación del marco de reconocimiento?

Celebrities, violencia de género y derechos de las mujeres: ¿hacia una transformación del marco de reconocimiento?

‘Don't let him take Britain back to the 1980s’:Ashes to Ashesas postfeminist recession television

Disability in television crime drama: Transgression and access

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