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"Akass, Kim"
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Mothers on American Television : the Relationship Between Representation and Economic Oppression in a Neoliberal Patriarchal Society
This PhD by Publication focuses on the representation of motherhood on 'quality' American television and how that is intrinsically linked to women's political and economic oppression in society. Although this study focuses on contemporary television series, it is grounded in a history of how motherhood has been theorized, its cultural positioning and how this informs the representations of maternity, motherhood and mothering in quality American television drama. Arguing that, in order to understand how patriarchy subjugates women, we need to expose the way patriarchal norms related to motherhood work as, while 'we know that difference exists, ... we don't understand it as constituted relationally',1 I propose that cultural attitudes expressed through televisual representations betray a deep-rooted misogyny that ties women to their reproductive potential thus impacting their positioning in society, their employment prospects and a lifetime's wage prospects. With so many meshes of ideological carriers at work, I conclude that it is urgent to bring them into consciousness and wield that knowledge politically.2 My work brings what is invisible into discourse, what is unconscious into consciousness and teaches us much about the ingrained attitudes of a neoliberal western patriarchal society, how it views motherhood and the impact that has on women in society more broadly. My original contribution to this field acknowledges 'quality' television's soap opera roots, and, by analysing series from a feminist perspective, shows that much can be revealed about the patriarchal unconscious, how it views its mothers and how women are inevitably linked to their reproductive potential.
Dissertation
The Doctor Who Dossier
The series about a Time Lord from the planet Galliffey means different things to different people; it is hard to imagine growing up in Britain without Doctor Who. Since March 2005, and under the stewardship of producer and lead writer Russell T. Davies, the series has turned into a stylish and compelling drama attracting children and adults as well as scholars and journalists. CST Book Reviews Sarah Cardwell Alongside our usual reviews of a selection of new and exciting television scholarship, this issue sees the publication of the first CST/ECREA (European Communication Research and Education Association) international über-review. 8 Teresa Forde (University of Derby), 'Out of Time: Women, Memory and Doctor Who'; Brigid Cherry (St Mary's University College) \"'Knitting for Girls\": Female Fans and Feminine Handicrafting'; Bethan Jones (University of Aberystwyth), The Girl Who Waited Survived: Fan Rewritings of Amy Pond'; Claire Jenkins (Bath Spa University) '\"I'm Saving the World, I Need a Decent Shirt\": Masculinity and Sexuality in Doctor Who'. Classical Monsters Rewritten in Doctor Who episodes 'The Curse of the Black Spot\" and \"The God Complex'\"; Richard Wallace (University of Warwick), \"'The Sound of Empires Toppling\": Politics, Public Service Broadcasting and Doctor Who'; Ann Poulson (King's College, London) \"'We are Highly Amused\": Queen Victoria's Representation in Doctor Who'; David Cottis (Middlesex University/University of East London), 'Character as Medium: Don Quixote, Hamlet, Citizen Kane, Superman, and The Doctor'; John L. Sullivan (Muhlenberg College), Transporting Television in Space and Time: The Export of Doctor Who to the United States in the 1970s and 1980s'; Ivan Phillips (University of Hertfordshire), 'The Hero with Eleven Faces (So Far): Doctor Who and the Triumph of Unsettlement'; David Simmons (Northampton University) \"'They're for Who Fans First and Gamers Second\": Narratology versus Ludology in Doctor Who: The Adventure Games; K. J. Donnelly (University of Southampton),'The Ghosts of Time and Space: Sound and Location in Two Exceptional Stories'.
Journal Article
FoxCrime and the CSI Franchise in Italy
Who Said Crime Doesn't Pay: Introduction Kim Akass and Janet McCabe Unease has long surrounded US television exports flowing into foreign territories.1 Traditionally viewed with some suspicion, as somehow threatening national broadcasting sovereignty,2 representing the homogenising forces of American capitalism,3 US TV imports remain subject to national import schemes as well as sustained critical opprobrium.4 A vibrant field has, however, grown up in parallel, which has sought to make sense of the implications for a national broadcaster buying in US TV fictions.5 Imported US content has always played a role (however minor) in foreign TV markets; but with 24hr programming schedules voracious for content, and the proliferation of channels seeking survival in a congested and highly competitive television environment, US acquired programming has become a vital strategy for commercial and/or satellite/cable networks attempting to carve out a niche. [...]we held a press conference to launch the channel. [...]CSI first aired on Fox, then FoxLife, and finally FoxCrime, where it found incredible success: it was final proof of the importance of the FoxCrime channel. [...]books cease to be regarded as 'art' but instead become merchandise.
Journal Article
CSI: Crime Scene Investigation
CSI's 'influence on contemporary US television', Cohan argues, is so dramatic that the series is responsible for 'the 21st-century reinvention of the crime show in terms of style and content' and offers the post-9/1 1 world a sense of 'credibility and, hence, authority of state institutions ... by offering an alternative means (science) of achieving a comforting ('true' and 'just'), not to say quick (in an hour's time), closure' (p. 5). Confessing his strong identification with the 'group of obsessive intellectuals working collaboratively in a cloistered environment' as not unlike his own 'professional life as a university professor', Cohan equates his search for 'meaning in the text' with the work of the CSIs who 'look for the same in the evidence they gather, in effect treating a crime scene as if it were a text' (p. 6). In chapter three - 'The Blue Paint Killer' - Cohan focuses on two episodes, 'The Execution of Catherine Willows' (3: 6) and 'What's Eating Gilbert Grissom' (5: 6), to suggest how forensic evidence may bring closure to a case without necessarily resulting in justice, leading him to suggest that 'the truth of crime on CSI may have no outcome other than the science' (p. 38).
Journal Article
Into the vortex: female voice and paradox in film
Describing the ways in which this system caters 'to a phallocentric gaze alone, as occluding the feminine, and as containing the woman, and her desire, not only within images that objectify her, but also inside narrative structures that construct and oppress her subjectivity and point of view' (p. 1), Sjogren's approach theorizes an alternative discourse, one that privileges sound over image.
Book Review
A fond farewell
As the final episodes of \"Sex and the City\" kick off tomorrow, asks eight high profile women what the show has meant for them, and why it has become such an extraordinary cultural landmark for women everywhere. (Original abstract - amended)
Journal Article