The Feminist, the Housewife, and the Soap Opera traces the history of the feminist engagement with soap opera using a wide range of sources from programme publicity to interviews with key scholars. The book reveals that feminist scholarship on soap opera was a significant site of which the identity 'feminist intellectual' was produced in dialogue with her imagined other, the soap opera watching housewife. The book integrates personal autobiographical accounts within a broader history which traces both the move from 'women's liberation' to 'Feminism', and the acceptance of soap opera as a serious object of study.…mehr
The Feminist, the Housewife, and the Soap Opera traces the history of the feminist engagement with soap opera using a wide range of sources from programme publicity to interviews with key scholars. The book reveals that feminist scholarship on soap opera was a significant site of which the identity 'feminist intellectual' was produced in dialogue with her imagined other, the soap opera watching housewife. The book integrates personal autobiographical accounts within a broader history which traces both the move from 'women's liberation' to 'Feminism', and the acceptance of soap opera as a serious object of study.
Charlotte Brunsdon Reader in Film and Television Studies, University of Warwick
Inhaltsangabe
* Introduction * Part 1. Mapping the Fields * Women's genres and female agency * Part 2. Early Work on Soap Opera: "Worrying Responsibility" * The Housewife in the 1940s Mass Communication Research: Arnheim, Kaufman, and Herzog * Feminists Taking Soap Opera Seriously: The Work of Carol Lopate, Michele Mattelart, and Tania Modleski * Fantasies of the Housewife: The Case of Crossroads * Part 3. Talking Soap Opera * Autobiography and Ethnography * 'I don't think we thought about it as studying soap opera': Christine Geraghty * 'What about the rest of the audience?' Dorothy Hobson * 'Slightly guilty pleasures': Terry Lovell * 'The pleasure of a programme like this is not something simple': Ien Ang * 'A sense of trying to valorise soap opera as women's TV': Ellen Seiter * Commonalties: Writing Across the Interviews * The Feminist, the Housewife, and the Soap Opera * Appendix * Bibliography
* Introduction * Part 1. Mapping the Fields * Women's genres and female agency * Part 2. Early Work on Soap Opera: "Worrying Responsibility" * The Housewife in the 1940s Mass Communication Research: Arnheim, Kaufman, and Herzog * Feminists Taking Soap Opera Seriously: The Work of Carol Lopate, Michele Mattelart, and Tania Modleski * Fantasies of the Housewife: The Case of Crossroads * Part 3. Talking Soap Opera * Autobiography and Ethnography * 'I don't think we thought about it as studying soap opera': Christine Geraghty * 'What about the rest of the audience?' Dorothy Hobson * 'Slightly guilty pleasures': Terry Lovell * 'The pleasure of a programme like this is not something simple': Ien Ang * 'A sense of trying to valorise soap opera as women's TV': Ellen Seiter * Commonalties: Writing Across the Interviews * The Feminist, the Housewife, and the Soap Opera * Appendix * Bibliography
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