Complicating Feminism: Media and Representation (Annotated Bibliography)

1. Aufderheide, Pat, and Debra Zimmerman. “From A to Z: A conversation on women's filmmaking.” Signs: Journal of Women in Culture & Society 30 no. 1 (2004): 1455-72.

This is an interview between a media critic and a feminist film distributor who discuss the importance of women’s perspective being represented in film. They focus on the organization Women Make Movies and how they bring attention to the importance of films about women by women for feminists and non-feminists alike. It touches on the complicated nature of feminism and how the hope of the organization is to reflect the multiplicity because feminism is still being defined; their goal is infiltration and empowerment, not definition.

2. Braderman, Joan. “Feminism and video: A view from the village.” Camera Obscura 22 no. 64 (2007): 197-208.

Braderman discusses her experience being a foremother of women in film and the strides they made with feminist film groups, magazines, and movies. She expresses the current concerns of misconceptions about feminism and people being under the impression that equality has already been won and second wave feminists are beating a dead horse. But she confirms that there is still inequality, including in the arts, and that something still needs to be done about it.

3. Douglas, Susan J. Where the Girls Are: Growing Up Female with the Mass Media. New York: Times Books, 1994.

In  “Chapter 12: I’m not a feminist, but…” Douglas describes the contradictory messages from media about womanhood, especially in relation to motherhood. Media has created the stereotype that feminists hate motherhood at the same time creating a fantasy portrayal of motherhood, and using feminism as a scapegoat to the point where women don’t want to be called by the ‘f” word. The idea she concludes with is that the media is a feminist’s worst enemy, but also best ally because it provides motivation.

4. Johnson, Brian D. “ Hollywood's new heroine: The skank.” Maclean's 123, no. 37 (2010): 76.

This review introduces the complicated idea of supposedly feminist films directed by men. It mentions a new archetype: the “honourable slut,” where the female’s use of sexuality is portrayed as a moral concept. Three films are cited as examples where women are forced into a role based on the pressures of their society, but use their agency to make it their own.

5. Krasnow, Iris. “Panel discussion: Have the media killed feminism? depends on whom you ask…” Media Report to Women 29 no. 2 (2001): 3-11.

Several feminists discuss the definition of feminism and whether it's relevant or not. They include what media's role has been in defining women's roles and feminism, and part of their defining process is pitting "anti-feminists" against feminists and sensationalizing and caricaturing. They come to a complicated conclusion where progress has been made, but reverse sexism is emerging.

6. Lorber, Judith. Gender Inequality: Feminist Theories and Politics. New York: Oxford University Press, 2012.

The chapter I used from this book introduces feminism and its waves: the first being focused on equal legal rights. The second was the start of scattering and varied focus with some working on breaking the “glass ceiling” or limitations on advancement for women in politics, business, etc. while others focused on violence and gender, sexuality, abortion, and female perspectives of history. The third wave consists of those who assume gender equality is the norm and view their agency and sexuality as “forms of power,” but work outside the mainstream.

7. Miss Representation. Directed by Jennifer Siebel Newsom. 2011.

Los Angeles, CA: Virgil Films & Entertainment, 2012. DVD.

Miss Representation juxtaposes statistics of how prevalent women are in media and politics and images of objectified women. The film suggests correlation that women are not in positions of power because those in power are degraded by media’s representation of them, and causation that girls grow up challenging their self-worth because of messages from the media. Women in the media industry and politics offer solutions after commentating on their own experiences.

8. Sibielski, Rosalind. “Nothing hurts the cause more than that.” Feminist Media Studies 10 no. 3 (2010): 321-34.

This article is an analysis of the television series Veronica Mars and its shift from a positive portrayal of feminism in the show to a part of the backlash dialogue. It recognizes the commercial motives that undermine ideological concerns with the threat of cancellation correlating with the turn against feminism. The show is representative of the complicated nature of female empowerment, where denial of feminism origins is more popular culturally acceptable.

9. Winch, Alison. “We can have it all.” Feminist Media Studies 12 no. 1 (2012): 69-82.

Instead of talking about the narcissistic male gaze, this article focuses on the solipsistic female gaze, where women are focused on themselves and their world. It shares several film examples where women have it all—the body, the baby, and the career—at the expense of each other. Girl friends take a post-feminist stance and objectify themselves and each other, and find simple solutions to complex problems in In Her Shoes, Baby’s Mama, The Devil Wears Prada, and others.

10. Wonder Women! The Untold Story of American Superheroines. Directed by Kristy Guevara-Flanagan. 2012. Vaquera Films. DVD.

The film spans the history of Wonder Woman, from her creation, her evolution through World War II and the women’s movement up to present day. The underrepresentation of powerful women in the media is discussed as well as the blatant idea that “women should be downplayed.” Wonder Woman’s feminine qualities are valorized and celebrated instead of disrespected as her powers and adventures involve “teach[ing] man the merits of peace and love;” a rare occurrence in an industry where men have 97% of the means to production.