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Postfeminism and the Archive for the Future

Postfeminism and the Archive for the Future Jenna (Jennifer Garner) and Matt (Mark Ruffalo) return to suburban domesticity in the conclusion to Thirteen Going on Thirty (dir. Gary Winick, US, 2004). Courtesy Photofest A R C H I V E F O R T H E F U T U R E Yvonne Tasker and Diane Negra Recent analyses (including our own) have taken note of the extent to which popular media have become thoroughly “postfeminized” lately. Employing postfeminism’s characteristic “double address,” in which the gains of feminism are savored while feminism itself is repudiated, a wide variety of films now incorporate a feminism that is at once achieved and abjured (including romantic comedies [Two Weeks Notice, dir. Marc Lawrence, US, 2002], family films [Cheaper by the Dozen, dir. Shawn Levy, US, 2003], and global blockbusters [Bend It Like Beckham, dir. Gurinder Chadha, UK, 2002]). Yet the irony and self-reflexivity that characterize so much of postfeminist and postmodern culture in no way invalidate feminist critique. As teachers and scholars committed to the analysis of contemporary culture, we find ourselves dealing with a great many troubling texts. Feminist film studies is only beginning the process of formulating, in Angela McRobbie’s words, “a more developed conceptual schema http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Camera Obscura Duke University Press

Postfeminism and the Archive for the Future

Tasker, Yvonne; Negra, Diane
Camera Obscura , Volume 21 (2 62) – Jan 1, 2006
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Publisher
Duke University Press
Copyright
© 2006 by Duke University Press
ISSN
0270-5346
eISSN
0270-5346
DOI
10.1215/02705346-2006-006
Publisher site
See Article on Publisher Site

Abstract

Jenna (Jennifer Garner) and Matt (Mark Ruffalo) return to suburban domesticity in the conclusion to Thirteen Going on Thirty (dir. Gary Winick, US, 2004). Courtesy Photofest A R C H I V E F O R T H E F U T U R E Yvonne Tasker and Diane Negra Recent analyses (including our own) have taken note of the extent to which popular media have become thoroughly “postfeminized” lately. Employing postfeminism’s characteristic “double address,” in which the gains of feminism are savored while feminism itself is repudiated, a wide variety of films now incorporate a feminism that is at once achieved and abjured (including romantic comedies [Two Weeks Notice, dir. Marc Lawrence, US, 2002], family films [Cheaper by the Dozen, dir. Shawn Levy, US, 2003], and global blockbusters [Bend It Like Beckham, dir. Gurinder Chadha, UK, 2002]). Yet the irony and self-reflexivity that characterize so much of postfeminist and postmodern culture in no way invalidate feminist critique. As teachers and scholars committed to the analysis of contemporary culture, we find ourselves dealing with a great many troubling texts. Feminist film studies is only beginning the process of formulating, in Angela McRobbie’s words, “a more developed conceptual schema

Journal

Camera Obscura – Duke University Press

Published: Jan 1, 2006

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