Why “intergenerational feminist media studies”?

Feminism and generation are live and ideologically freighted issues that are subject to a substantial amount of media engagement. The figure of the millennial and the baby boomer, for example, regularly circulate in mainstream media, often accompanied by hyperbolic and vitriolic discourses and affects of intergenerational feminist conflict. In addition, theories of feminist generation and waves have been and continue to be extensively critiqued within feminist theory. Given the compelling criticisms directed at these categories, we ask: why bother examining and foregrounding issues of generation, intergeneration, and transgeneration in feminist media studies? Whilst remaining sceptical of linearity and familial metaphors and of repeating reductive, heteronormative, and racist versions of feminist movements, we believe that the concept of generation does have critical purchase for feminist media scholars. Indeed, precisely because of the problematic ways that is it used, and the prevalence of it as a volatile, yet only too palpable, organizing category, generation is both in need of continual critical analysis, and is an important tool to be used—with care and nuance—when examining the multiple routes through which power functions in order to marginalize, reward, and oppress. Exploring both diachronic and synchronic understandings of generation, this article emphasizes the use of conjunctural analysis to excavate the specific historical conditions that impact upon and create generation. This special issue of Feminist Media Studies covers a range of media forms—film, games, digital media, television, print media, as well as practices of media production, intervention, and representation. The articles also explore how figures at particular lifestages—particularly the girl and the aging woman—are constructed relationally, and circulate, within media, with particular attention to sexuality. Throughout the issue there is an emphasis on exploring the ways in which the category of generation is mobilized in order to gloss sexism, racism, ageism, class oppression, and the effects of neoliberalism

“Older-wiser-lesbians” and “baby-dykes”: mediating age and generation in New Queer Cinema

Representations of intersections of gender, age, and sexuality can reveal deep-rooted cultural anxieties about older women and sexuality. Images of lesbian ageing are of particular interest in terms of alterity, as the old/er queer woman can combine layers of otherness—not only is she the cultural “other” within heteronormativity, but she can also appear as the opposite of popular culture’s lesbian chic. In this article, a cultural analysis of a range of films—If These Walls Could Talk 2 (dir. Anderson, Coolidge, and Heche 2000), Itty Bitty Titty Committee (dir. Babbit 2007), The Owls (dir. Dunye 2010), Hannah Free (dir. Carlton 2009), and Cloudburst (dir. Fitzgerald 2011)—considers diverse dramatisations of lesbian generations. This article interrogates to what extent alternative cinemas deconstruct normative conceptualisations of ageing. Drawing on recent critiques of post-feminist culture, and a range of feminist and age/ing studies scholarship, it suggests that a linear understanding of ageing and the generational underlies dominant depictions of oppositional binaries of young versus old, of generational segregation or rivalry, and the othering of age. It concludes that non-linear understandings of temporality and ageing contain the potential for New Queer Cinema to counteract such idealisations of youthfulness, which, it argues, is one of the most deep-rooted manifestations of (hetero)normativity

Dragging antigone: feminist re-visions of citizenship

Book synopsis: Beyond Citizenship? Feminism and the Transformation of Belonging pushes debates about citizenship and feminist politics in new directions, challenging us to think 'beyond citizenship', and to engage in feminist re-theorizations of the experience and politics of belonging. Citizenship is a troubling proposition for feminism – promising inclusion yet always enacting exclusions. This book asks whether citizenship is a worthwhile object for feminist politics and scholarship, or whether we should find a different language to express our desires to belong, and alternative means to enact our yearnings for equality, justice and reciprocity. Grounded in feminist perspectives that emphasize the importance of affect, subjectivity, embodiment and the collective, it offers important new analyses of the state of citizenship and meanings of belonging in the contemporary globalizing world. This book is key reading for scholars and students of citizenship, social movements, and feminist and gender theory from a wide range of disciplines, including art practice, comparative literature, gender studies, philosophy, political theory, psychosocial studies, social policy, socio-legal studies, and sociology

Seeing in Alison Bechdel’s "Fun Home"

“Seeing in Alison Bechdel’s Fun Home”, Camera Obscura: Feminism, Culture and Media Studies, 28.3_84 (2013), Alison Bechdel's autobiographical graphic novel, Fun Home (2006), intricately weaves together the author's coming-out story with her family's history, particularly the story of her father's closeted queer sexuality and possible suicide. In its exploration of family history, queer desires, and larger American historical events, Bechdel's novel deals with themes of trauma, memory, and historical narrative. The novel has been embraced for the queer way in which it approaches her family archive — it refuses to settle on one understanding of the truth of Bechdel's father, his sexuality, and the author's relationship to him, and instead insists on piecing together the past from a variety of angles. This article focuses on how the queer qualities of contingency and partiality that Fun Home produces around sexuality and the Bechdel family's history is an effect of the author's use of the visual possibilities of the graphic genre. Mapping Bechdel's coming-of-age story as a narrative about coming to see, this article traces the importance of vision in young Alison's gender identity, her relationship to her father, and her ability to posthumously “see” her father through family photographs. This article thus draws out the ways in which Bechdel represents the visual field as a source of both restriction and queer pleasure, the family as a site of both normalizing and queer looks, and the inevitable partiality of what she is able to see

Remediating affect: “Luclyn” and lesbian intimacy on YouTube

This article focuses on Kaelyn and Lucy, a long distance (US–UK) lesbian couple who document their relationship on YouTube. Their channel has attracted a following of hundreds of thousands of individuals who profess to feeling an intimate attachment to the couple. This article considers how Kaelyn and Lucy's performance of lesbian intimacy online has amassed such a following. In exploring the multiple feelings that Kaelyn and Lucy's YouTube channel contains, it builds on and contributes to theorizing online emotion, and in particular, frames their channel as a “digital archive of feelings” (Kuntsman, 2012). Picking up on the way in which followers profess to having unmediated access to their relationship, I build on Bolter and Grusin's concept of “remediation” to argue that Kaelyn and Lucy produce a sense of immediacy for their followers through the remediation of other romantic genres. Secondly, I draw out the importance of time to the creation of a sense of shared intimacy, arguing that Kaelyn and Lucy's use of YouTube invites followers to feel as though they are sharing in the timing of the couple's relationship. This article thus uses this case study to reflect on the process by which a contemporary representation of lesbian intimacy has become a scene of attachment, whereby a larger “intimate public” (Berlant, 2008) has formed