Ruined lives: mediated white male victimhood

When the hashtag #metoo began to circulate in digital and social media, it challenged a familiar interpretation of those who are raped or sexually harassed as victims, positioning women as embodied agents. Yet, almost exactly a year after the #metoo movement shot to visible prominence, a different, though eerily similar, story began to circulate on the same multi-media platforms as #metoo: a story about white male victimhood. Powerful men in positions of privilege (almost always white) began to take up the mantle of victimhood as their own, often claiming to be victims of false accusations of sexual harassment and assault by women. Through the analysis of five public statements by highly visible, powerful men who have been accused of sexual violence, I argue that the discourse of victimhood is appropriated not by those who have historically suffered but by those in positions of patriarchal power. Almost all of the statements contain some sentiment about how the accusation (occasionally acknowledging the actual violence) ‘ruined their life’, and all of the statements analyzed here center the author, the accused white man, as the key subject in peril and the authors position themselves as truth-tellers about the incidents. These statements underscore certain shifts in the public perception of sexual violence; the very success of the #metoo movement in shifting the narrative has meant that men have had to defend themselves more explicitly in public. In order to wrestle back a hegemonic gender stability, these men take on the mantle of victimhood themselves

The Beguiling: Glamour in/as Platformed Cultural Production

Arguing that questions of power expressed through aesthetic form are too often left out of current approaches to digital culture, this article revives the modernist aesthetic category of glamour in order to analyze contemporary forms of platformed cultural production. Through a case study of popular feminism, the article traces the ways in which glamour, defined as a beguiling affective force linked to promotional capitalist logics, suffuses digital content, metrics, and platforms. From the formal aesthetic codes of the ubiquitous beauty and lifestyle Instagram feeds that perpetuate the beguiling promise of popular feminism, to the enticing simplicity of online metrics and scores that promise transformative social connection and approbation, to the political economic drive for total information awareness and concomitant disciplining, predicting and optimizing of consumer-citizens, the article argues that the ambivalent aesthetic of glamour provides an apt descriptor and compelling heuristic for digital cultural production today

RED is the New Black: Brand Culture, Consumer Citizenship and Political Possibility

Any quick glance at cultural, social, and political life in twenty-first century United States discloses compelling evidence that regardless of identity, or generation, or socioeconomic status, we organize our lives within brand culture. While advertising continues to have a dominant presence in both public and private spaces, what characterizes contemporary culture is not so much the ubiquitous ad, but rather the normalization of brand culture, where consumer participation is not simply (or even most importantly) indicated by purchases made, but rather by brand loyalty and affiliation. By connecting brands to lifestyles, to politics, and even to social activism, brand culture permeates consumer habits, and more importantly, all forms of political, social, and civic participation. We examine two contemporary examples of branding strategies, the RED campaign and the Chevy Tahoe consumer competition, as a way to demonstrate the dynamic relationships between consumers and brand marketers. In particular, we discuss these campaigns as lenses through which we understand how brand culture is a space for the constitution of consumer citizenship. These two campaigns are also illustrative of the ways that brand culture is in a state of flux at this historical moment, and we explore this instability for its political impact

Future tense: scandalous thinking during the conjunctural crisis

This brief essay considers the impact of the current conjunctural crisis on ideas about, and access to the ‘future’. It explores ways in which cultural critics and scholars might learn to think ‘scandalously’ in order to imagine and build a more equitable and humane world

From Pick-Up Artists to Incels: Con(fidence) Games, Networked Misogyny, and the Failure of Neoliberalism

Between 2007 and 2018, the pick-up artist community—“gurus” who teach online networks of heterosexual men to seduce women—gave rise to a different online community, that of “incels,” who create homosocial bonds over their inability to become a pick-up artist. In this article, we offer a conjunctural analysis of this shift and argue that this decade represents a decline in, or even a failure of, neoliberalism’s ability to secure subjects within its political rationality. We argue that neoliberalism cannot cope with its failures, especially its promises of self-confidence. Such promises themselves become exposed as confidence games, which are then rerouted through networked misogyny, resulting in ordinary and spectacular violence against women. Moreover, incels express their rage through language of uprising and a war on women. Their actions are on a continuum of reactive violent responses to women’s refusal of social reproduction roles and aim to defend and restore patriarchal order

From pick-up artists to incels: con(fidence) games, networked misogyny, and the failure of neoliberalism

Between 2007 and 2018, the pick-up artist community—“gurus” who teach online networks of heterosexual men to seduce women—gave rise to a different online community, that of “incels,” who create homosocial bonds over their inability to become a pick-up artist. In this article, we offer a conjunctural analysis of this shift and argue that this decade represents a decline in, or even a failure of, neoliberalism’s ability to secure subjects within its political rationality. We argue that neoliberalism cannot cope with its failures, especially its promises of self-confidence. Such promises themselves become exposed as confidence games, which are then rerouted through networked misogyny, resulting in ordinary and spectacular violence against women. Moreover, incels express their rage through language of uprising and a war on women. Their actions are on a continuum of reactive violent responses to women’s refusal of social reproduction roles and aim to defend and restore patriarchal order

The beguiling: glamour in/as platformed cultural production

Arguing that questions of power expressed through aesthetic form are too often left out of current approaches to digital culture, this article revives the modernist aesthetic category of glamour in order to analyze contemporary forms of platformed cultural production. Through a case study of popular feminism, the article traces the ways in which glamour, defined as a beguiling affective force linked to promotional capitalist logics, suffuses digital content, metrics, and platforms. From the formal aesthetic codes of the ubiquitous beauty and lifestyle Instagram feeds that perpetuate the beguiling promise of popular feminism, to the enticing simplicity of online metrics and scores that promise transformative social connection and approbation, to the political economic drive for total information awareness and concomitant disciplining, predicting and optimizing of consumer-citizens, the article argues that the ambivalent aesthetic of glamour provides an apt descriptor and compelling heuristic for digital cultural production today

Postfeminism, popular feminism and neoliberal feminism? Sarah Banet-Weiser, Rosalind Gill and Catherine Rottenberg in conversation

In this unconventional article, Sarah Banet-Weiser, Rosalind Gill and Catherine Rottenberg conduct a three-way ‘conversation’ in which they all take turns outlining how they understand the relationship among postfeminism, popular feminism and neoliberal feminism. It begins with a short introduction, and then Ros, Sarah and Catherine each define the term they have become associated with. This is followed by another round in which they discuss the overlaps, similarities and disjunctures among the terms, and the article ends with how each one understands the current mediated feminist landscape