The Evolution of Femininity by Aimee Cameron

The Evolution Of Femininity Feminism and its Reflection within Western Pop Culture Aimee Cameron 16 February 2015 Submitted as a partial requirement for the BA (Hons) in Graphic Design at the University of Cumbria

his essay will consider the portrayal and

wave of feminism, including those women

discourse of the feminist within modern

who did not affiliate with a recognized

day media and pop culture. Feminism

feminist organization. I wish to find out the

is seen as a dirty word within today’s

basis for todays feminist behaviour, how it

Anglo-American society, with more young

is represented in the media and the effect it

women uncoupling themselves from the

has had on young women.

movement (Kulcsár 2011; Houvouras &

Introduction

Carter 2006; Tyler, 2007). Many believe that

I will focus upon 3 separate cases that

feminism is a jaded relic, unnecessary and

occurred between August - November

has no place in todays society as women

2014, the cases involve Matt Taylor, Kim

already have equality (McRobbie, 2011;

Kardashian and Jennifer Lawrence. I

Reynolds 2014). What has emerged is an in-

have chosen these cases as they are

herent ‘slumber’ (Reynolds, 2014) amongst

submerged in pop culture and the mania

the feminist community, less woman are

of contemporary media, in looking at these,

vocalising themselves and those who are,

this essay illustrates how feminist ideas

are seen as “aggressive, opinionated, crazy

are communicated through media that is

women” (Houvouras & Carter, 2006). Some

readily available to anyone who has access

of these women who vocalise themselves

to television, magazine, social media or

are doing so in a selective and discrimina-

newspapers. The media has become the

tory manner (Houvouras & Carter, 2006),

key site for defining codes of sexual con-

mainly targeting men when objecting to

duct. It casts judgment and establishes the

female suppression but overlooking when

rules of play. Across these many channels

women are the perpetrator.

of communication feminism is routinely

“Feminism is seen as a dirty word...” This essay challenges the dominant narrative of second wave feminism which focuses on the work of self-identified fem-

disparaged (McRobbie, 2009). To count as a girl today appears to require this kind of ritualistic denunciation (McRobbie, 2007),

Dr Matt Taylor: The tattooed Rosetta project scientist who took Twitter by storm. (2014) [mixed media] Available at: http://www. independent.co.uk/news/ science/dr-matt-taylor-thetattooed-rosetta-projectscientist-who-took-twitterby-storm-9856820.html (Accessed 23 November 2014)

which in turn suggests that one strategy in the disempowering of feminism includes it being historicised and generationalised and thus easily rendered out of date. The reactions to each reflect the contrasting ideals within the third-wave of feminism and how each binary is illustrated and perceived by the general public.

inist organizations and activists, resulting Paper Magazine. (2014). No Filter: An Afternoon with Kim Kardashian [photograph] Available at: http://www. papermag.com/2014/11/ kim_kardashian.php (Accessed 23 November 2014)

in a history that describes the activities of Anglo-American women who, by dint of their privileged social identities, had the luxury of thinking about gender in isolation of other identity categories. Examining the popular experience of second wave feminism expands our understanding of how different populations participated in this

Moss, R. (2014)

The first case to be studied is that of

among University students,

Rosetta Scientist Matt Taylor

Dr Matt Taylor, on 12 November 2014

“Other participants who do not identify

Apologises For ‘Offensive’

Taylor successfully landed the satellite

themselves as feminists define feminists

Semi-Naked Woman Shirt

Philae on Comet 67P, a triumph for him-

as individuals who discriminate against

[mixed media]

self, the team and humanity as this had

men. Much like the concept of “reverse

Available at: http://

never been achieved previously. Taylor

discrimination,”...these participants believe

www.huffingtonpost.

then gave an interview to the press

that the goal of feminism is to provide

co.uk/2014/11/14/matt-tay-

detailing the mission and it’s success

women with unfair advantages over men.”

lor-sexist-shirt-comet-apol-

but the main focal point of this would

(Houvouras & Carter, 2006).

ogy_n_6157736.html

not be his scientific achievement but

(Accessed 23 November 2014)

instead Dr Taylor’s choice in clothing

Part of the argument for the discrimination

(see Figure 1). Taylor chose to wear a

against Taylor was that he was “asking for

shirt, which featured women clad in

it” by wearing such an offensive shirt. This

PVC and leather styled as cartoons,

is prejudicial for the feminist cause, as

which was a gift made for him by a

there is a global movement known as ‘The

female friend. This was seen as a form

Slut Walk’ (Toronto, Slut Walk, 2014), which

of self-expression but was also per-

is dedicated to manifest that regardless of

ceived by many to be a reflection upon

what a woman is wearing she is not asking

the patriarchal hierarchy within the

to be raped, harassed or oppressed. For

scientific community, highlighting the

feminists to blame the victim is a hideous

difficulties women face within the field

irony, they are keeping the systemic

(Bell, 2014).

violence a part of our culture in a show of reverse discrimination. The discourse with-

Chapter 1

The backlash Taylor received for his

in post-feminism has changed and we have

clothing has been viewed as unwarrant-

seen a rise in language online over the past

ed, ‘trivial bullshit’ (Schow, 2014) and

10 years that reflect a majority opinion that

an insight into how post-feminism has

feminism has become fascist and man-hat-

become a platform for women to belittle

ing, particularly with Rush Limbaugh’s term

men; that it is now about inequality and ‘re-

‘feminazi’ (Limbaugh, 1993). With new plat-

verse discrimination’, as was the case with

forms for the media and information fem-

Houvouras and Carter’s Conference study

inism is constantly disparaged (McRobbie,

Philae, Matt Taylor and his Shirt

“The medias obsession with what Taylor was wearing... is almost ‘scopophilic’ in nature.” 2009) and this mutated feminazi strand of post-feminism has fuelled the fire, resulting in more young women disassociating with it for fear of being considered a radicalist man hater (Kulcsár 2011; Houvouras & Carter 2006; Tyler, 2007). These women who are labelled ‘feminazi’ are also seen to be ‘narcissistic feminists’ (Tyler, 2007) who seek only self-satisfaction and gratification. Other discourses of the feminazi state have stopped young women venting their anger (McRobbie, 2011) as they are agitated about discrimination because of their gender, yet another crazed woman protesting about something (Houvouras & Carter, 2006), a disturbing development as feminism was intended to assuage gender discrimination not encourage it. Young women are also staying silent as a result of the new ‘sexual contract’ (McRobbie, 2007), they have been awarded certain freedoms but to appear attractive to potential partners they must put on their ‘post-feminist masquerade’ (McRobbie, 2007) and become ‘hyper-feminine’ (Tyler, 2007). This results in post-modern feminism to be seen as a ‘double movement’ (McRobbie, 2007), not necessarily one step forward and two steps back but for progression the young woman must give up feminism. A requirement of their new ‘sexual contract’ (McRobbie, 2007) for them to fit the patriarchal hegemony of attraction.

Matt Taylor e le pinups. (2014) [mixed media] Available at: http://www.forumastronautico.it/index. php?topic=22455.0 (Accessed 23 November 2014)

It is not a new development for the feminist

The shirt features women clad in PVC

to be portrayed as the villain with many

which is associated with bondage and kink.

agreeing with the bizarre notion that femi-

These sexual preferences are considered by

nism is outdated and irrelevant (McRobbie,

most to be detrimental to feminism, with

2011; Reynolds 2014). With this concept of

women being oppressed, subjugated and

feminism being “irrelevant” many of the An-

exploited during certain activities within

glo-American populace believe that femi-

the community (Barker & Gill 2012). With

nists, specifically women, have already won

Taylor wearing a shirt that is suggestive

equality so what problems could they pos-

towards such sexual communities and the

sibly have to complain about, apart from

discourse of such, it’s no surprise that there

those that they bring upon themselves

were women who were offended but this

(Houvouras & Carter, 2006; Kulcsár, 2011).

media circus pertaining Dr Taylor’s shirt

The presumption that all post-modern

reflects the ‘sexualization of culture’ (Gill,

feminists are radicalist feminazis, creating

2012). We are engrossed with admission,

issues where there is none, is not necessar-

exposure and declaration. The backlash Dr

ily warranted as this behaviour does not

Taylor received was so severe that he broke

represent the community as a whole but only a select few with heightened media coverage. We have seen a rise in the media of ‘popular feminism’ (McRobbie, 2008) being sold to young women, suggesting that post-feminism and the political struggles related are no longer required. These are the reasons that the criticism of Dr Taylor’s shirt have been viewed in such a negative way, it is seen as unnecessary to be offended by these images, especially

“We are in a stage where there are two different stances at war with each other...”

Results

older second-wave generation mourn for

the intimacy of a grown man break down in tears over a shirt (Mulvey, 1975). The pleas-

The different reactions to Dr Taylor’s

radicals anymore, their purist approach is

ure journalists, bloggers and feminists had

clothing represent the different states

a feminism that isn’t institutionalised (Roy,

over breaking this man down and making

within post-feminism. We are in a stage

2013) and without a compromise on both

a play of it is perverse. If the women on the

where there are two different stances at

design were not half naked or if the wearer

war with each other, the second-wave,

was a woman the reaction would not have

neo-liberal, anti-porn, ‘radical’ feminists

been so negative. We accept the concept

versus the third-wave, anti-neo-liberal,

of female dominance, a woman in control

‘sex-positive’ feminist (Barker & Gill 2012;

but reject the submissive female as the

Gill, 2012). The radical second-wave

positioning creates a ‘problematic’ view on

viewpoint is what is seen as feminazi by

women (Barker & Gill, 2012).

the media and contrasting the sex-positive

apology was voyeuristic as you watched

in such a ‘sexualised culture’ (Gill, 2012).

down and issued an apology for wearing

Even so, these feminists were not wrong to

the offensive shirt (Knapton, 2014), the

criticise Dr Taylor on his choice of clothing,

medias obsession with what Taylor was

their approach may have been excessive,

wearing and more importantly the obses-

but the entire team and Taylor himself did

sion with his reaction is almost ‘scopo-

latter being accepted more broadly within

not stop to think that the design could have

philic’ in nature (Mulvey, 1975). Taylor was

society. The third-wave could also be seen

been offensive to members of the general

showcased as an object for criticism and

as ‘moderate’ feminism (Roy, 2013), the

public and advise on an alternative option.

subjective gaze and then the frenzy over his

the loss of feminism because there are no

sides the future of feminism is uncertain.

third-wave is seen as popular feminism, the

Chapter 2

Kim Kardashian

Breaking the internet

he second case to be studied is the cover spread for is the cover spread for the 2014 Winter issue of Paper magazine issue featuring Kim Kardashian (See Figure 2). These images were released roughly around the same time as the incident with Dr Taylor’s shirt and the backlash he received, but unlike Dr Taylor, Kim received very little to no negative response at all from not only the feminist community but from the public in general. Miss Kardashian can be seen partially naked upon the cover spread with her entire rear end on show, dolled up with pearls and short sleeved gloves for a “classy” effect. Inside the magazine is a double page spread with images of Kardashian naked (See Figure 3) and another image, which is a parody of Jean-Paul Goude’s “Champagne Incident”, featured in his book Jungle Fever, 1982 (See Figure 4).

The contrast with negative press in comparison to Taylor’s case is astounding. Kardashian was not slated, berated or demonized for her decision to appear in and publish nude and semi-nude photographs of herself. The image was spread online and Kardashian was the butt of every joke available at the time, a joke but not to be

“An image that may offend older females was not received in an offensive way by the younger audience, they can look at the female body with exemption...”

hated. As it was made into a viral campaign to ‘break the internet’ younger viewers were the main recipients.

Paper Magazine. (2014) Kim Kardashian poses naked on Paper magazine cover: Did she really break the Internet? [mixed media] Available at: http://www. nydailynews.com/ entertainment/gossip/ kim-kardashian-poses-naked-paper-magazine-cover-article-1.2007843 (Accessed 23 November 2014)

An image that may offend older females

by commodifying their sexuality and objec-

was not received in an offensive way by

tifying themselves (McRobbie, 2008). If we

the younger audience, they can look at the

turn attention to some of the participatory

female body with exemption, believing that

dynamics in leisure and everyday life which

the woman is not being subjugated, not in

see young women endorse (or else refuse

this day and age where feminism has al-

to condemn) the ironic normalisation of

ready won (McRobbie, 2011). Post-feminism

pornography, where they indicate their

has become a ‘sleeping’ state for the fem-

approval of and desire to be pin-up girls for

inist battle (Reynolds, 2014). Anglo-Ameri-

the centrefolds of the soft porn so-called

The Missive. (2014)

can society believes that feminism is irrele-

lad’s mags (Gill, 2012), where it is not at all

[mixed media]

vant, that women’s bodies are no longer a

unusual to pass young women in the street

Available at: http://in-

product for capitalist consumerism. Young

wearing T-shirts bearing phrases such as

flux.themissive.com/

women view these images as female sexual

“Porn Queen” or “Pay To Touch” across

post/102900544376/

empowerment but what is happening

the breasts (McRobbie, 2008), where in the

fertility

is a ‘retro sexism’ (Gill, 2012) in which

UK at least young women quite happily

(Accessed 23 November 2014)

objectification of women is veiled behind

attend lap-dancing clubs, perhaps as a

the concept of female empowerment.

test of their sophistication and ‘cool’ (Gill,

Kardashian is famous for being famous, the

2012). This is a ‘sex-positive’ feminist view

daughter of a well-known lawyer who re-

(Barker & Gill, 2012), women have won their

leased her own sex tape. The sexualisation

sexual freedom and can enjoy sexualisation

of western civilization has made it possible

with impunity (McRobbie, 2011), women

for her to ascertain a career this way (Gill,

are not the victims but the producers and

2012). The young women and feminists

consumers of sexual material (Gill, 2012).

who believe she is an empowered women

Kardashian’s choice to display her body to

invoke the notion that it is acceptable for

the world follows the discourses of Love

women to gain power, a career and money

Your Body (Gill & Elias, 2014). She is comfortable enough in her own skin that she can share it with us, this is then read as being beautiful as she has the right mind set to love her body and convey it to the world, a strong subject for female empowerment. This touches upon a more dangerous discourse within LYB, that beauty is a state of

> 11

The Study. (2014) See the shot that inspired Kim Kardashian’s Paper Magazine cover [mixed media] Available at: http://www.1stdibs.com/blogs/thestudy/2014/11/12/kim-kardashian-jean-paul-goude/

(Accessed 23 November 2014)

mind rather than the feminist dismissal and release from patriarchal beauty standards (Gill & Elias, 2014). The same empowerment was not awarded to Taylor, because he is a man, with his shirt featuring women adorning PVC, it was seen as female submission and yet Kardashian selling her body for a magazine issue is seen as female dominance because it was her choice. This radical judgement of both parties refers back to how female submission is viewed critically and female dominance is celebrated as being ‘feminist’ (Barker & Gill, 2012). The commodification of Kardashian signifies that women’s

“At best these pictures are recycled art, and at worst, they are lazy sensationalism.” bodies are

once again

male possessions (Reynolds, 2014), we are voyeuristic with our obsession with her private life and her

body (Mulvey, 1975). She herself will post

semi-nude photographs and upload them online and in turn the media perversely analyses every detail, looking for a flaw or body part that is deemed unattractive by the patriarchy. With the media’s assumption that feminism is no longer valid the younger woman is forced to be silent with these issues, to be considered a modern ‘sex-positive’ feminist she is to accept this scopophilic intent upon the lives of famous women (McRobbie, 2009). Even so, where was the radicalist ‘feminazi’ when these image went viral, to assume that it is only an older generation who have this stance within post-feminism would be mistaken. Or to assume that because the images

were released with social media an older

them previously, motivating them into ac-

audience was not purvey to them would be

tion. While the Internet has offered space to

close-minded. Women are more conscious

share these thoughts and opinions it also

about judging another woman, as it would

has a darker side, immersed in misogyny as

be seen as discriminating against her

internet “trolls” violently attack, and hush

because of her gender (Houvouras & Carter,

feminist voices (Winch, 2014).

2006). If women were to voice protest about

The Kim Kardashian shoot is not inno-

this imagery it would be seen as her giving

vative, new or special. Jean-Paul Goude

Kardashian the profile of the victim rather than the perpetrator. Labelling Kardashian as the victim is unfavourable for the feminist cause as not all women are weak and this is something that has been a main point within the movement. This resulted in

Related Pictures Famous jean paul goude fashion photo. (2014) [mixed media] Available at: http://artimagesfrom.com/famous-jeanpaul-goude-fashion-photo/ (Accessed 23 November 2014)

“His original image ‘The Champagne Incident’...is layered with racism and exploitation...”

many withholding their opinion regarding

simply dug into his archives and picked

these images, taking up silence. The cam-

out an image to re-hash. At best these

paign to “break the internet” may not have

pictures are recycled art, and at worst,

lived up to its namesake but did however

they are lazy sensationalism. The problem

generate a substantial amount of publicity.

with this choice for the re-make is that his

An online platform is an encouragement

original image “The Champagne Incident”,

for feminist activity; an opinion, which

otherwise known as “Carolina Beaumont”,

may have been ignored or scorned by

is layered with racism and exploitation.

the mainstream media, can be expressed

Goude is a voyeur and objectifies Black

without hesitation via the internet (Winch,

women, according to People Magazine of

2014). Young women are also able to access

1979,

feminist ideas, which may have evaded

“Anglo-American’s were fascination with Baartman’s body, specifically her ‘deviant buttocks’...” >

Saartjie Baartman. (2014)

“Jean-Paul has been fascinated with

ality and racism it is astounding that no

[mixed media]

women like Grace since his youth. The son

one from either the Black or feminist com-

of a French engineer and an American-born

Available at: http://en.wiki-

munity have raised their voices in alarm.

dancer, he grew up in a Paris suburb. From

Black post-feminism is embedded with the

to show how Black women have it ‘worse’

the moment he saw West Side Story and

jie_Baartman

attribution of silence for them to ascertain

(Nash, 2008). Anglo-American women may

{Accessed 23 November 2014)

the Alvin Ailey dance troupe, he found

their freedom, but as a race, not a gender

be hesitant to comment on this imagery

himself captivated by “ethnic minorities—

(Collins, 2000). Black women do not feel

for fear of being labelled a ‘feminazi’ and

black girls, PRs. I had jungle fever.” He now

comfortable vocalising their oppression as

says, “Blacks are the premise of my work.”

it is the ‘last taboo’ (Collins, 2000). If they

‘Mainstream feminism’ ignores many of

are not directly related to her race and her

(Wohlfert, 1979)

were to actively publicise their struggles

the plights Black women face (Nash, 2008)

objection may be seen as self-serving. The

it may implicate Black men, so they show

and because Black women do not actively

consequence is that these images seeped

Goude’s scopophilic (Mulvey, 1975) view

solidarity as a race and ‘take sides against

protest against it we are seeing a similarity

in suppression and objectification of wom-

of Black women is perversion in it’s purist

the self’ (Collins, 2000), choosing their race

with Anglo-American’s ‘resting place’ within

en, the hypersexualisation of Black woman,

form, a kin to that of the hypersexualisation

over their gender.

pedia.org/wiki/Saart-

Results

‘narcissistic’ (Tyler, 2007) as these issues

post-feminism (Reynolds, 2014). With

their ‘deviant buttocks’ (Nash, 2008) and

of Saartjie Baartman (SAhistory, 2014), also

Kardashian’s re-make of “Champagne

a remnant of the original Black icon for

known as “Hottentot Venus”, who became

Incident” the Black woman is removed

sexuality, Hottentot Venus, have been

the ‘master text’ (Nash, 2008) for the

altogether, contributing to the absence

allowed to be released with very little noise

European patriarchy’s view on ‘the Other’

of opposition against these images. The

made in protest. Goude, Kardashian and

(Nash, 2008). The cover for the shoot (See

Black women will not protest against these

Paper magazine have shown that racism,

Figure 2) reflects the Anglo-American fasci-

images for fear of Black ‘family secrets’

oppression and voyeurism are still alive

nation with Baartman’s body, specifically

of abusive Black men to be aired as a

and well but the feminists of today from a

her ‘deviant buttocks’ (Nash, 2008). With

discourse of their action (Collins, 2000)

range of races are stagnant in their aim to

Kardashian posing in an image embedded

and the Black woman is rarely used in

with the discourse of slavery, hypersexu-

Anglo-American feminist studies other than

change any of this.

Xmen Wikia (2014) Jennifer Lawrence. Available at: http://xmenmovies.wikia.com/wiki/ Jennifer_Lawrence (Accessed 23 November 2014)

he third and final case to be studied is Jennifer Lawrence and “the Fappening.” During August 2014 Lawrence, amongst many other celebrities, was victim to the “scandal” of her private photographs, mainly nude and semi-nude, being stolen and then leaked online. This would be known as “The Fappening.” Previously when a celebrity’s nude photos were leaked, more often women, the hegemonic norm was for her to issue a public apology (Asward, 2007). She was expected to be ashamed and embarrassed by her own sexuality and show a form of regret for committing the act, even when it’s nature was private. In show of the patriarchal ownership of the female body, it is fine for a women to be nude when in porn or an erotic setting, when she is the object and

Chapter 3

not the subject, and a show of how women are still expected to objectify themselves

Jennifer Lawrence and The Fappening (Barker & Gill, 2012). This also mirrors upon the difference in response from celebrity

leaked photographs and those of Kardashian in the Paper spread. Hypersexualised

images of Kardashian were acceptable in

the media, and the patriarchy’s, eyes because of the professional setting; where as photographs of women in a private setting are deemed an embarrassment because they were never intended for the public to see, even when she had no consent with the images being published.

Robinson, J. (2014) Jennifer Lawrence Says the Secret to Her Long-Lasting Friendship with Bradley Cooper is “No Sex” photograph] Available at: http://www. vanityfair.com/hollywood/2015/03/jennifer-lawrence-bradley-cooper-no-sex (Accessed 23 November 2014)

“we have becom e a strip-tease culture.”

The media frenzy surrounding these wom-

a start to stop the process of ‘decrime-ing’

en when such a “scandal” occurs highlights

(McRobbie, 2011), Lawrence is not bowing

the sexualisation of western society, how

down and apologising, she is free to enjoy

we have become a ‘strip-tease culture’ (Gill,

sexuality as it is her choice (McRobbie,

2012.) Similar to Taylor’s case the media

2011) but what was not her choice was the

is obsessed with the intimacy of another

release of the imagery to the public. The

person’s shame, scopophilic in nature as

main difference here is consent, such in the

we wait for their apology, watching as their

same way as rape. It is the hegemonic norm

reputation crumbles (Mulvey, 1975). The

for the woman to be ashamed that such

disapproval aimed at these women is a

images were leaked, the victim is to blame

grim reminder of the allocated role (McRob-

but not the perpetrator, who hides behind

bie, 2007) women have received from the

a veil of anonymity and whose intention

patriarchy, that she can have her fun but

was to attack, humiliate and assault the

within certain limits (McRobbie, 2011).

dignity of these women. By not apologising

Techonolgy is amplifying crimes and not

Lawrence has embraced the ‘sex-positive’

just mirroring them, changing the impact

side of post-feminism (Barker & Gill, 2012)

these acts have upon women. Many young

and awakened from the ‘sleep of post-fem-

women feel that media representation

inism’ (Reynolds, 2014), rather than stick to

of women and sexual harassment online

the hegemonic norm she chose to voice her

are some of the most powerful forms of

concerns about the gender-biased crime

oppression they have experienced (Winch,

against her. Lawrence has chosen to throw

2014). The majority targeted by “The Fap-

away her ‘masquerade’ (McRobbie, 2007),

pening”, and previous cases of leaked pho-

showing that there is no naturally feminine

tographs, are overwhelmingly women yet

woman hiding beneath, she has given up

it is not treated as gender-based hate, con-

on her feminine submissiveness and adopt-

tributing to the lack of response from the

ed hegemonic masculinity (McRobbie,

feminist community previously. What set

2007).

Lawrence apart from the rest was that she did not issue an apology but instead aptly named the act of stealing her private nude photographs a sex crime, calling for the public to forgo searching for them. This is

“Lawrence named this act a sex crime.” Results When Lawrence named this act a sex crime it made women realise that blaming the victim is a fallacious act and helped

generate solidarity with young women. A positive reaction to Lawrence’s case was

Lawrence’s case shows a step forward

adopted throughout society, she was not

for post-feminism, a break through of the

labelled as being ‘selfish’ (Tyler, 2007) but a

barrier that is the ‘sleep’ of post-feminism

liberated young woman who should have

(Reynolds, 2014). Unfortunately this

a choice in whether her naked body should

step forward for post-feminism became

be shown publicly. Regardless of whether

shadowed as the medias, feminazi frenzy

she intended it to be so, Lawrence’s reac-

of Dr Taylor and the silence of Kardashian

tion has been viewed as radical feminism

both occurred subsequent to Lawrence’s

and not ‘modest’ (Roy, 2013). A woman

case. Any gains within post-feminism in

who has been objectified without her

pop-culture and the media are swept under

consent and voiced against it is not radical,

the rug as a show of radical feminazis takes

the small backlash Lawrence has received

centre stage. It is difficult for post-feminism

over dubbing the act a sex crime is because

to really rise and overcome the devaluation

she is refusing to re-establish gender

and notion that it is irrelevant (Kulcsár,

relations but instead proving that the new

2011) when we are faced with two options

sexual contract (McRobbie, 2007) is not

within the movement, a deranged woman

needed. With previous cases the reaction

who’s irritation is born of personal inade-

from women themselves has been critical

quacy (McRobbie, 2011) or a mute.

and disrespectful, naming victims “sluts”

Robinson, J. 2015. Jennifer Lawrence Says the Secret to Her Long-Lasting Friendship with Bradley Cooper is “No Sex” [photograph] Available at: http://www. vanityfair.com/hollywood/2015/03/jennifer-lawrence-bradley-cooper-no-sex (Accessed 25 March 2015)

for even allowing nude photographs to be taken of them. This is a manifestation of the competitiveness between women, starting in the neo-liberal, sexist workplace where they feel the need to resort to a ‘Margaret Thatcher strategy of becoming queen bee’ Panem Propaganda. 2014.

(Winch, 2014). This mind set of being queen

Jennifer Lawrence Covers

is transferred to other aspects of these

Vanity Fairs November Issue.

women’s lives, they then compete for mar-

[photograph]

riage, social standing and reputation, often

Available at: http://www.

putting another women to shame in order

panempropaganda.

to gain leadership. Most are not aware of

com/movie-count-

the damage this causes for feminism or

down/2014/10/7/jennif-

that it is even wrong to do so as they are

er-lawrence-covers-vani-

used to it being apparent in many aspects

ty-fairs-november-issue.

of their lives.

html (Accessed 23 November 2014)

“Lawrence’s case shows a step forward for post-feminism, a break through of the barrier that is the ‘sleep’ of post-feminism.” 21

(Reynolds, 2014) is partly responsible for

dangerous ‘sleeping’ (Reynolds, 2014) state.

the deterioration of feminist identity along

Women are boxed into two categories, the

with the silenced majority. We need to

radical, selfish (Tyler, 2007) and man-hat-

emphasis to young women that their ‘new

ing or moderate (Roy, 2013), popular

sexual contract’ (McRobbie, 2007) is coun-

(McRobbie, 2008) feminist. Young women

terproductive to the feminist cause, that

are brought up with the image of ‘popular

they must cast these oppressive patriarchal

feminism’ (McRobbie, 2008), abiding by

rules to the side, that they need not fear

‘The Rules’ and withholding the standard of

implications with marriage and family life

their sexual decency (McRobbie, 2007), the

by doing so. The sexual contract is coertion,

purist views of the second-wave generation

not consent (McRobbie, 2007), a point,

(Roy, 2013) lost. When a young woman

which needs to be vilified. Similarly Black

adopts the views of the second-wave

feminism needs to find itself a strong voice,

and actively protests against female

even if it goes against the racial solidarity

subjugation in modern society she is duped

(Collins, 2000) that has been a part of these

a feminazi. The media demonises those

women’s lives since childhood. Yes, Black

women who vocalise and little is done in

men may be implicated but Black women,

their defence as young women are forced

and post-feminism through all races, need

to continue on with their masquerade

to cooperate together with their gender for

(McRobbie, 2007) to keep up the image

feminism to evolve and live past the current

of being ‘feminine’. The ‘anti-feminist

wave. But it is not simply the patriarchy, the

backlash’ disguised as feminist rhetoric

media and men who are to blame, women

Conclusion

he current stage of post-feminism is in a

“The media demonises those women who vocalise.” are also at fault as they slander each other based on appearances and opinions. Women need to establish a consensus to renounce derogatory terms used against them and other women, abandon words like feminazi, bitch, slut. Speak out when they see another woman being objectified and labour to create a foundation for a new wave of feminism, which sees women working together, and not against each other. We need to find and create new female identities that do not seek validation from the hegemonic ideals (Tyler, 2007) and reclaim the figures of feminism that are seen as negative towards society. Women are

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Books

Available at: http://www.people.com/people/archive/article/0,,20073475,00.html

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