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Feminism, Digital Culture and the Politics of Transmission argues that despite the prevalence of generational narratives within feminism, the technical processes through which knowledge is transmitted across generations remain unexplored. Taking Bernard Stiegler's concept of the already-there as its starting point the book considers how the politics of transmission operates within digital culture. It argues that it is necessary to re-orient feminism's political project within what is already-there so that it may respond to an emergent feminist tradition. Grounded in the author's work collecting and interpreting the music-making heritage of the UK Women's Liberation Movement, it explores how digital technologies have enabled empassioned amateurs to make 'archives' within the first decade of the 21st century. The book reflects on what is technically and politically at stake in the organization and transmission of digital artifacts, and explores what happens to feminist cultural heritage when circuits shut down, stall or become diverted.

Beginning in 1963 with the publication of Betty Friedan'sThe Feminine Mystiqueand reaching a high pitch ten years later with the televised mega-event of the \"Battle of the Sexes\"-the tennis match between Billie Jean King and Bobby Riggs-the mass media were intimately involved with both the distribution and the understanding of the feminist message. This mass media promotion of the feminist profile, however, proved to be a double-edged sword, according to Patricia Bradley, author ofMass Media and the Shaping of American Feminism, 1963-1975. Although millions of women learned about feminism by way of the mass media, detrimental stereotypes emerged overnight. Often the events mounted by feminists to catch the media eye crystalized the negative image. All feminists soon came to be portrayed in the popular culture as \"bra burners\" and \"strident women.\" Such depictions not only demeaned the achievements of their movement but also limited discussion of feminism to those subjects the media considered worthy, primarily equal pay for equal work. Bradley's book examines the media traditions that served to curtail understandings of feminism. Journalists, following the craft formulas of their trade, equated feminism with the bizarre and the unusual. Even women journalists could not overcome the rules of \"What Makes News.\" By the time Billie Jean King confronted Bobby Riggs on the tennis court, feminism had become a commodity to be shaped to attract audiences. Finally, in mass media's pursuit of the new, counter-feminist messages came to replace feminism on the news agenda and helped set in place the conservative revolution of the 1980s. Bradley offers insight into how mass media constructs images and why such images have the kind of ongoing strength that discourages young women of today from calling themselves \"feminist.\" The author also asks how public issues are to be raised when those who ask the questions are negatively defined before the issues can even be discussed. Mass Media and the Shaping of American Feminism, 1963-1975examines the media's role in creating the images of feminism that continue today. And it poses the dilemma of a call for systematic change in a mass media industry that does not have a place for systematic change in its agenda.

White feminists performing to maintain privilege Mean girl feminism encourages girls and women to be sassy, sarcastic, and ironic as feminist performance. Yet it coopts its affect, form, and content from racial oppression and protest while aiming meanness toward people in marginalized groups. Kim Hong Nguyen's feminist media study examines four types of white mean girl feminism prominent in North American popular culture: the bitch, the mean girl, the power couple, and the global mother. White feminists mime the anger, disempowerment, and resistance felt by people of color and other marginalized groups. Their performance allows them to pursue and claim a special place within established power structures, present as intellectually superior, substitute nonpolitical playacting for a politics of solidarity and community, and position themselves as better, more enlightened masters than patriarchy. But, as Nguyen shows, the racialized meanness found across pop culture opens possibilities for building an intersectional feminist politics that rejects performative civility in favor of turning anger into liberation.

From advertising to television and film, feminist media scholars have examined the changing nature of media representations form the 1990’s onwards in comparison to the 1950s in the UK and the US. Many debates focus on the current ambiguity surrounding media representations which are inserted within post-feminist texts that tend to equate female empowerment with choice, individualism and consumerism. This has occurred in a context where there have been some achievements in gender equality worldwide, with women occupying more spaces in the marketplace, business and government. In the last decades, Latin America has been through many changes. Inequality levels have been reduced and political trends have resulted in the election of female politicians throughout the continent, corresponding with a revival of gender politics and feminist movements. At the same time, however, countries like Brazil are still home to gender discrimination and inequality, with high levels of domestic violence towards women, low levels of political representation, a culture of machismo, and the enduring predominance of stereotypical gender representations in the media. Globalization, Gender Politics, and the Media looks at the correlation between gender inequality in society with media representations, situating the case of Brazil and Latin America within the global quest for gender justice. It emphasizes the need to equate material and economic concerns with the examination of the reproduction of values and beliefs on gender through cultural and media outlets. Questions that are asked include, how can the media better contribute to assist in gender development and nation-building? How can online platforms make a difference? What can be done within the mainstream media to advance women’s rights? What is understood by the myth of the “Brazilian woman,” and how does this connect to other notions of what the “Third World woman” is? Using a triangulation methodology, this book includes a small selection of interviews with experts from international organizations, politicians in Brazil, and bloggers, as well as a sample of media analysis of ads, commercials, posters, campaign material, and feminist blogs to examine the challenges that gender equality faces in this country and the ways in which the media can make a difference.

The dramatic 1968 protest of the Miss America competition, and the feminist revolution it sparked, is discussed.

Circuits of Visibility explores transnational media environments as pathways to understand the gendered constructions and contradictions that underwrite globalization. Tracking the ways in which gendered subjects are produced and defined in transnationally networked, media saturated environments, Circuits of Visibility presents sixteen essays that collectively advance a discussion about sexual politics, media, technology, and globalization. Covering the internet, television, books, telecommunications, newspapers, and activist media work, the volume directs focused attention to the ways in which gender and sexuality issues are constructed and mobilized across the globe. Contributors' essays span diverse global sites from Myanmar and Morocco to the Balkans, France, U.S., and China, and cover an extensive terrain from consumption, aesthetics and whiteness to masculinity, transnational labor, and cultural citizenship. Circuits of Visibility initiates a necessary conversation and political critique about the mediated global terrain on which sexuality is defined, performed, regulated, made visible, and experienced.

The eight essays contained in Philosophical Feminism and Popular Culture explore the portrayal of women and various philosophical responses to that portrayal in contemporary post-civil rights society. The essays examine visual, print, and performance media—stand-up comedy, movies, television, and a blockbuster trilogy of novel. These philosophical feminist analyses of popular culture consider the possibilities, both positive and negative, that popular culture presents for articulating the structure of the social and cultural practices in which gender matters, and for changing these practices if and when they follow from, lead to, or perpetuate discrimination on the basis of gender. The essays bring feminist voices to the conversation about gender and attests to the importance of feminist critique in what is sometimes claimed to be a post-feminist era.

Analyses the 21st century fashion image making model to determine to what extent the hyper sexualisation of women can be blamed on fashion industry media. Asserts that women are subject to their own image making, and it is unhelpful to project historical feminist ideals onto such women as the Kardashian clan and their complex feminist performativity by labelling them as ‘feminist’ or ‘anti-feminist’. Signals that modern feminism is in constant flux and that time and acknowledgement are needed to understand its complexity. Source: National Library of New Zealand Te Puna Matauranga o Aotearoa, licensed by the Department of Internal Affairs for re-use under the Creative Commons Attribution 3.0 New Zealand Licence.

Women and Media is a thoughtful cross-cultural examination of the ways in which women have worked inside and outside mainstream media organizations since the 1970s. Rooted in a series of interviews with women media workers and activists collected specifically for this book, the text provides an original insight into women's experiences. Explains the ways that women have organized their internal and external campaigns to improve media content (or working conditions) for women, and established womenowned media to gain a public voice. Identifies key issues and developments in feminist media critiques and interventions over the last 30 years, as these relate to production, representation and consumption. Functions as both a research case study and a teaching text.