Historical Omission and Psychic Repression in Paul Thomas Anderson's Boogie Nights

This article looks at the way in which the film Boogie Nights skews history in addressing white male anxieties about female and queer sexuality

Dallas with balls: televized sport, soap opera and male and female pleasures

Two of the most popular of television genres, soap opera and sports coverage have been very much differentiated along gender lines in terms of their audiences. Soap opera has been regarded very much as a 'gynocentric' genre with a large female viewing audience while the audiences for television sport have been predominantly male. Gender differentiation between the genres has had implications for the popular image of each. Soap opera has been perceived as inferior; as mere fantasy and escapism for women while television sports has been perceived as a legitimate, even edifying experience for men. In this article the authors challenge the view that soap opera and television sport are radically different and argue that they are, in fact, very similar in a number of significant ways. They suggest that both genres invoke similar structures of feeling and sensibility in their respective audiences and that television sport is a 'male soap opera'. They consider the ways in which the viewing context of each genre is related to domestic life and leisure, the ways in which the textual structure and conventions of each genre invoke emotional identification, and finally, the ways in which both genres re-affirm gender identities

Zombies, time machines and brains: Science fiction made real in immersive theatres

Critical thought on immersive theatres is gathering in pace with many arguments centred on explorations of audience/performer interaction and the unique relationship these theatres create. Within this paper I look beyond these debates in order to consider the implications of immersive theatres within contemporary culture, with the aim of furthering the ways in which immersive theatres are presently being framed and discussed. Theatre and science fiction have shared a somewhat limited relationship compared to their burgeoning usage within other forms of entertainment. This paper focuses on how the conceits of science fiction are being staged within this theatrical setting. Primary focus is given to Punchdrunk's… and darkness descended (2011) and The Crash of the Elysium (2011–2012). This is considered alongside The Republic of the Imagination's (TROTI) Cerebellium (2012–14), an original narrative created for the performance which has been subsequently developed over a three-year period to date. This discussion is presented and framed through my personal experience as both a performer in Cerebellium and (later) as audience member. The particular use of dystopian narratives and alternate worlds is given consideration, with reflection on the way these works destabilize and call into question the audience's sense of self either through their ability to survive or understand their sense of self. By making evident the spectrum of practice, I endeavour to delve further into identifying and de-mystifying immersive theatres and their differences to conventional theatre

Postfeminist Media Cultures

This entry provides an overview of postfeminism, which has become central in the last two decades not only within feminist cultural discourse but also within neoliberal discourses and popular culture. The dominant attempts to conceptualize postfeminism often bring to the surface approaches that are complex and contradictory in nature. For instance, postfeminism is viewed as a theoretical framework, as a sensibility, as an expansion of feminist theory, or as a rejection of it. The discussion of postfeminism against the backdrop of media productions further highlights its implications for women and gender representation. A look at quintessential postfeminist texts shows, for instance, that postfeminism essentially problematizes contemporary constructions of gender as it simultaneously evokes and rejects basic feminist tenets

Something beneath the flesh: music, gender, and medical discourse in the 1940s female gothic film

Closely related to both film noir and the woman's film, 1940s female gothic pictures combine suspense and mystery with a focus on the subjective experience of the female protagonist. This article discusses the use of music and sound in the cinematic female gothic tradition, focusing upon two historically located films that form part of its “gaslight” subgenre: 'Experiment Perilous' (dir. Tourneur; comp. Webb, 1944) and 'The Spiral Staircase' (dir. Siodmak; comp. Webb, 1946). In both films, the positioning of the female lead is mediated by the presence of a medical discourse revolving around her professional and romantic relationship with a male doctor, whose knowledge and authority also allows him to function as an unofficial investigator into the woman's persecution at the hands of a serial murderer. The female gothic soundtrack is a crucial element in the creation and communication of this gendered discourse, articulating the shifting position of characters in relation to issues of crime, criminality, and romance. Musical and vocal control reinforce the doctor's dominance whilst allying his presentation with that of an emasculated killer, and create and contain agency within complex constructions of female victimhood

Pleasure and meaningful discourse: an overview of research issues

The concept of pleasure has emerged as a multi-faceted social and cultural phenomenon in studies of media audiences since the 1980s. In these studies different forms of pleasure have been identified as explaining audience activity and commitment. In the diverse studies pleasure has emerged as a multi-faceted social and cultural concept that needs to be contextualized carefully. Genre and genre variations, class, gender, (sub-)cultural identity and generation all seem to be instrumental in determining the kind and variety of pleasures experienced in the act of viewing. This body of research has undoubtedly contributed to a better understanding of the complexity of audience activities, but it is exactly the diversity of the concept that is puzzling and poses a challenge to its further use. If pleasure is maintained as a key concept in audience analysis that holds much explanatory power, it needs a stronger theoretical foundation. The article maps the ways in which the concept of pleasure has been used by cultural theorists, who have paved the way for its application in reception analysis, and it goes on to explore the ways in which the concept has been used in empirical studies. Central to our discussion is the division between the ‘public knowledge’ and the ‘popular culture’ projects in reception analysis which, we argue, have major implications for the way in which pleasure has come to be understood as divorced from politics, power and ideology. Finally, we suggest ways of bridging the gap between these two projects in an effort to link pleasure to the concepts of hegemony and ideology

The rise of the ‘yummy mummy’: popular conservatism and the neoliberal maternal in contemporary British culture

This article analyses the emergence of the new social type of the ‘yummy mummy’ by examining the constellation of narratives circulating through and around it in British culture. It contends that, whilst it has some notable precursors, the idea of the yummy mummy marks a fairly substantial cultural shift given the weight of the western Christian tradition that has overwhelmingly positioned the mother as asexual. Coming into being in part through an increasing social divide between rich and poor, this stock type most often serves to augment a white, thirtysomething position of privilege, shoring up its boundaries against the other side of the social divide (so-called ‘pramfaces’). At the same time it is part of a wider fetishisation of the maternal that coexists with profoundly gendered inequalities in relation to childcare in particular. Drawing from a range of sources, and in particular autobiographical celebrity guidebooks and ‘henlit’ novels, the article argues that the figure of the yummy mummy functions to elide such social contexts, instead espousing a girlish, high-consuming maternal ideal as a site of hyperindividualised psychological ‘maturity’. ‘Successful’ maternal femininity in this context is often articulated by rejecting ‘environmentally-conscious’ behaviour and in attempting to render what are presented as excessive eco-delusions both abject and transparent. This tendency, the article argues, is indicative of the conservative nature of the phenomenon, which is forced to belittle and disavow wider structures of social, political and ecological dependency in order for its conservative fantasy of autonomous, individualising retreatism to be maintained

Vertigo's Musical Gaze: Neo-Riemannian Symmetries and Spirals

Laura Mulvey coined the term ‘male gaze’ (1975), using Lacanian theory as a ‘political weapon’ against the standard mode of viewing in which the viewing subject turns onscreen women into fantasy objects. While politically laudable, her article misconstrues Lacan's concept of ‘the gaze’, the power of which emanates from the object itself. We might better serve Lacanian theory by inverting Mulvey's reading of Alfred Hitchcock's Vertigo to suggest that Scottie (James Stewart) is himself objectified by the mystique of the ‘object’ he watches and follows: Madeleine (Kim Novak). The screen's gaze reduces spectators to objects too. From this perspective, rather than watching the film, the film can be said to be watching us. This extends to Bernard Herrmann's soundtrack, famously influenced by the yearning of Wagner's Tristan und Isolde . Developing David Schwarz's (2006) musical gaze (in which repeated pedal points of Schubert songs gaze at us), I analyse Vertigo ’s frequent emphasis on the pitch class D. A pedal D is often repeated in alluring yet sinister bare octaves as Scottie follows Madeleine. But at key moments in the film, the pitch becomes a sophisticated tool that captivates us in unique ways. Around this central pitch third‐relationships circle. These resonate with neo‐Riemannian theory, particularly in their hexatonic ‘poles’, which Cohn shows to be agents of the Freudian ‘uncanny’ (2004) and which here also serve as an alternative gaze to the reiterated D. Other pitch constellations, in symmetries or spirals, form similar obsessional musical ‘gazes’ that, using Lacanian theory, prompt the question about whether we are listening to the music or the music is listening to us

‘I’m not your mother’: British social realism, neoliberalism and the maternal subject in Sally Wainwright’s Happy Valley (BBC1 2014-2016)

This article examines Sally Wainwright's Happy Valley (BBC1, 2014–2016) in the context of recent feminist attempts to theorise the idea of a maternal subject. Happy Valley, a police series set in an economically disadvantaged community in West Yorkshire, has been seen as expanding the genre of British social realism, in its focus on strong Northern women, by giving it ‘a female voice’ (Gorton, 2016: 73). I argue that its challenge is more substantial. Both the tradition of British social realism on which the series draws, and the neoliberal narratives of the family which formed the discursive context of its production, I argue, are founded on a social imaginary in which the mother is seen as responsible for the production of the selves of others, but cannot herself be a subject. The series itself, however, places at its centre an active, articulate, mobile and angry maternal subject. In so doing, it radically contests both a tradition of British social realism rooted in male nostalgia and more recent neoliberal narratives of maternal guilt and lifestyle choice. It does this through a more fundamental contestation: of the wider cultural narratives about selfhood and the maternal that underpin both. Its reflective maternal subject, whose narrative journey involves acceptance of an irrecoverable loss, anger and guilt as a crucial aspect of subjectivity, and who embodies an ethics of relationality, is a figure impossible in conventional accounts of subject and nation. She can be understood, however, in terms of recent feminist theories of the maternal

The One with the Feminist Critique: Revisiting Millennial Postfeminism with Friends

In the aftermath of its initial broadcast run, iconic millennial sitcom Friends (NBC, 1994–2004) generated some quality scholarship interrogating its politics of gender. But as a site of analysis, it remains a curious, almost structuring absence from the central canon of the first wave of feminist criticism of postfeminist culture. This absence is curious not only considering the place of Friends at the forefront of millennial popular culture but also in light of its long-term syndication in countries across the world since that time. And it is structuring in the sense that Friends was the stage on which many of the familiar tropes of postfeminism interrogated across the body of work on it appear in retrospect to have been tried and tested. This article aims to contribute toward redressing this absence through interrogation and contextualization of the series’ negotiation of a range of structuring tropes of postfeminist media discourse, and it argues for Friends as an unacknowledged ur-text of millennial postfeminism