The Avenging-Woman On-Screen: Female Empowerment and Feminist Possibilities
In The Avenging-Woman On-Screen: Female Empowerment and Feminist Possibilities, Lara C. Stache and Rachel D. Davidson demonstrate how the on-screen character of the avenging-woman offers a complex construction of femininity that serves as a representation of cultural conversations about female empowerment, female agency, and feminism. This character is both woman and hero, typically both physically appealing and physical aggressive—a dichotomy that goes against traditional gendered norms of femininity. Television and film narratives produced since 2010, the authors posit, offer an opportunity to reflect on and consider the evolution of cultural ideologies about women and power, given the significant cultural shifts in Hollywood that occurred amid the #MeToo explosion and post–Harvey Weinstein revelations. Stache and Davidson argue that depictions of the avenging-woman utilize a feminist language of empowerment that suggests the potential for a subversive message against the patriarchy while also recognizing that an alternative reading of some representations presents, at times, a hegemonic construction of empowerment that ultimately cautions against subversion within patriarchal systems. The authors question how these representations may limit social change or, in some cases, represent particularly progressive rhetorics about women and power. Scholars of communication, media studies, film and television studies, and women’s studies will find this book of particular interest.

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The Avenging-Woman On-Screen: Female Empowerment and Feminist Possibilities
In The Avenging-Woman On-Screen: Female Empowerment and Feminist Possibilities, Lara C. Stache and Rachel D. Davidson demonstrate how the on-screen character of the avenging-woman offers a complex construction of femininity that serves as a representation of cultural conversations about female empowerment, female agency, and feminism. This character is both woman and hero, typically both physically appealing and physical aggressive—a dichotomy that goes against traditional gendered norms of femininity. Television and film narratives produced since 2010, the authors posit, offer an opportunity to reflect on and consider the evolution of cultural ideologies about women and power, given the significant cultural shifts in Hollywood that occurred amid the #MeToo explosion and post–Harvey Weinstein revelations. Stache and Davidson argue that depictions of the avenging-woman utilize a feminist language of empowerment that suggests the potential for a subversive message against the patriarchy while also recognizing that an alternative reading of some representations presents, at times, a hegemonic construction of empowerment that ultimately cautions against subversion within patriarchal systems. The authors question how these representations may limit social change or, in some cases, represent particularly progressive rhetorics about women and power. Scholars of communication, media studies, film and television studies, and women’s studies will find this book of particular interest.

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The Avenging-Woman On-Screen: Female Empowerment and Feminist Possibilities

The Avenging-Woman On-Screen: Female Empowerment and Feminist Possibilities

The Avenging-Woman On-Screen: Female Empowerment and Feminist Possibilities

The Avenging-Woman On-Screen: Female Empowerment and Feminist Possibilities

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Overview

In The Avenging-Woman On-Screen: Female Empowerment and Feminist Possibilities, Lara C. Stache and Rachel D. Davidson demonstrate how the on-screen character of the avenging-woman offers a complex construction of femininity that serves as a representation of cultural conversations about female empowerment, female agency, and feminism. This character is both woman and hero, typically both physically appealing and physical aggressive—a dichotomy that goes against traditional gendered norms of femininity. Television and film narratives produced since 2010, the authors posit, offer an opportunity to reflect on and consider the evolution of cultural ideologies about women and power, given the significant cultural shifts in Hollywood that occurred amid the #MeToo explosion and post–Harvey Weinstein revelations. Stache and Davidson argue that depictions of the avenging-woman utilize a feminist language of empowerment that suggests the potential for a subversive message against the patriarchy while also recognizing that an alternative reading of some representations presents, at times, a hegemonic construction of empowerment that ultimately cautions against subversion within patriarchal systems. The authors question how these representations may limit social change or, in some cases, represent particularly progressive rhetorics about women and power. Scholars of communication, media studies, film and television studies, and women’s studies will find this book of particular interest.


Product Details

ISBN-13: 9781666915556
Publisher: Bloomsbury Academic
Publication date: 10/10/2023
Pages: 206
Product dimensions: 6.00(w) x 9.00(h) x 0.62(d)

About the Author

Lara C. Stache is associate professor in communication at Governors State University.

Rachel D. Davidson is associate professor at Hanover College in the Department of Communication.

Table of Contents

Acknowledgments

Introduction: The Avenging-Woman and Feminism

Chapter 1: The Visualization of Victimization: The Avenging-Woman and Female Violence

Chapter 2: Homosocial & Heterosocial Friendships: The Avenging-Woman as Man’s Best Friend

Chapter 3: Bodysuit, Lipstick, Taser: The Avenging-Woman, Choice, and Sex-Positivity

Chapter 4: Technology, Cyborgs, & Power: The Avenging-Woman as Machine

Chapter 5: #AvengingWomanSoWhite: Race, Class, and the Right to Justice

Chapter 6: “I wasn’t the only dame in Gotham looking for emancipation”: Birds of Prey as a Reluctant Feminist Model of Female Empowerment

Chapter 7: Promising Young Woman: A Promising Feminist Narrative

Chapter 8: “Who takes their bright pink sorority backpack to vigilante target practice?”: Sweet/Vicious as a Feminist Fantasy for a Millenial Generation

Conclusion

Appendix

References

About the Authors

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