The first edition of this book immediately became a defining text
for feminist television criticism, with an influence extending
across television, media and screen studies and the second edition
will be similarly agenda-setting. Completely revised and updated
throughout, it takes into account the changes in the television
industry, the academic field of television studies and the culture
and politics of feminist movements.
. . With fifteen of the eighteen extracts being new to the
second edition, the readings offer a detailed analysis of a wide
range of case studies, topics and approaches, including genres,
audiences, performers and programmes such as 'Sex and the City',
Prime Suspect, Oprah and Buffy.
. . With a new introduction to the volume tracing developments
in the field and introductions to each thematic section, the
editors engage in a series of debates surrounding the main issues
of feminist television scholarship. They explore how television
represents feminism and consider how critics themselves have
created feminism and post-feminism as historical categories and
political identities. Readings consider women who are engaged in
various aspects of television production on both sides of the
camera and examine how television targets and imagines its female
audience, as well as how women respond to and use television in
their everyday lives.
. . "Feminist Television Criticism" is inspiring reading for
film, media, cultural and gender studies students.
. . "Contributors: Ien Ang, Jane Arthurs, Sarah Banet-Weiser,
Karen Boyle, Marsha F. Cassidy, Geok-lian Chua, Bonnie J. Dow,
Joanne Hollows, Deborah Jermyn, Annette Kuhn, Elizabeth MacLachlan,
Purnima Mankekar, TaniaModleski, Laurie Ouellette, Yeidy M. Rivero,
Lee Ann Roripaugh, Beretta E. Smith-Shomade, Kimberly Springer,
Ksenija Vidmar-Horvat, Susan J. Wolfe.,"
General
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