Women, Television and Feelings: Theorising Emotional Difference of Gender in SouthLAnd and Mad Men

Weissmann, Elke

doi:10.1007/978-1-137-56885-4_6

Cited by 3 publications

(3 citation statements)

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“…Southland 's (2009Southland 's ( -2013 John Cooper is heroic, paternal with more junior officers and a professional role model. He is also addicted to painkillers and tortured by his sexuality as a gay man (Weissmann, 2016). Lead characters such as Harry Bosch (Bosch, 2014(Bosch, -2021 and Raylan Givens (Justified , 2010(Justified , -2015 are heroic but also possess emotional depth.…”

Section: Policing Culturementioning

confidence: 99%

“…The perceived distinctive abilities possessed by women officers finds some portrayal in popular culture. Weissmann (2016) argues Southland (2009 represents officer Lydia Adams as exercising her 'affective knowledge' to the benefit of her policing competence, rather than attempting to suppress emotion as the male characters do to negative effect.…”

Section: Intersectionality In Policingmentioning

confidence: 99%

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Policing and the Courts

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2021

Gender, Crime and Justice

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Policing and the CourtsThe maintenance of order and the exercise of authority and control are deeply gendered. Order, control and authority are socially and culturally coded as masculine. The social institutions that are responsible for upholding order and keeping control, such as the police and the courts, represent masculine authority and derive their legitimacy from this authority (Heidensohn, 1992). Such institutions uphold different kinds of control depending on the place and time in which they are located. Authoritarian forms of governance rely on 'hard' masculine authority, whereas liberal democratic governance is underpinned by norms of masculine rationality and paternalism-with recent shifts towards women and men working in partnership (Klatzer & Schlager, 2020;Marx Ferree, 2020). The coding of institutions of order, control and authority as masculine does not mean that only men work within them (although historically women were excluded from the police and legal professions). However, it does mean that cis heterosexual white men more closely fit the notion of ideal police officers, lawyers and judges. As gendered institutions, policing and the courts have masculine working cultures that shape how women and LGBTQ people fare within them. The masculinity of policing and the courts also affects how individuals

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Section: Policing Culturementioning

confidence: 99%

Section: Intersectionality In Policingmentioning

confidence: 99%

Policing and the Courts

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2021

Gender, Crime and Justice

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“…He is reborn not into a more authentic version of himself but into the same duplicitous figure of his past’. Although insightful, Cassidy leaves out television scholarship (such as Nelson, 2016, Toles, 2013, and Weissman, 2016) on Mad Men that would help to further engage with her reading of the affective and visceral nature of the series.…”

mentioning

confidence: 99%

Book Review: Television and the Embodied Viewer: Affect and Meaning in the Digital Age

Gorton

2021

Critical Studies in Television: The International Journal of Te

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El arco de transformación de Daphne en Bridgerton (Chris Van Dusen, 2020): de princesa prefeminista a heroína postfeminista

Orellana¹

2022

Investig. fem.

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Introducción. Tras siglos en los que las mujeres eran representadas como objeto de deseo masculino, los estudios de género que comenzaron en los años 60 y 70 con la Segunda Ola del Movimiento Feminista buscaron cambios en la representación audiovisual del icono femenino tradicional. Esto supuso que los personajes femeninos comenzaran a ganar protagonismo y se convirtieran en sujetos de la acción, pero siempre acompañados y protegidos por un personaje masculino. En los 90 comienza la Tercera Ola del Movimiento Feminista y con ella se busca dar un paso adelante en la representación femenina. Objetivos. La presente investigación se centra en determinar cómo se ha construido la feminidad de Daphne, la protagonista femenina de Bridgerton (Chris Van Dusen, 2020). A pesar de que Bridgerton tiene lugar en el siglo XIX y la novela en la que se inspira se estrenó en el año 2000, el producto audiovisual analizado se enmarca en la Era Postfeminista. Metodología. Para definir cómo se ha construido el personaje femenino en esta ficción y cómo participa en la trama, se realiza un análisis cualitativo del arquetipo narrativo, objeto externo, meta interna y el arco de transformación del personaje objeto de estudio. Resultados y Conclusiones. Estos elementos narrativos se analizan teniendo en cuenta, además, que en la ficción surgen las cuestiones femeninas de la Era Postfeminista y que forman parte de la evolución interior de Daphne: el amor romántico, el sexo, la maternidad y las relaciones humanas.

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Women, Television and Feelings: Theorising Emotional Difference of Gender in SouthLAnd and Mad Men

Cited by 3 publications

References 0 publications

Policing and the Courts

Policing and the Courts

Book Review: Television and the Embodied Viewer: Affect and Meaning in the Digital Age

El arco de transformación de Daphne en Bridgerton (Chris Van Dusen, 2020): de princesa prefeminista a heroína postfeminista

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