Postfeminist Film & Literary Aesthetics: In Search of the Female Gaze represents a novel and comprehensive study of the aesthetic and affective textual innovations of women in the 21st century from a postfeminist perspective. This book both defines and helps shape the contours of four fast-growing critically and commercially popular modes—millennial film and fiction, metamodernism, an anti-narrative and decorative realm named here as ‘still life’, and new cli-fi—in which there is no clear male equivalent or in which women’s work can be read as a distinct aesthetic force. As the textual constellation of now is being mapped and its key texts being canonised, this book contributes to the current recentring of aesthetic taste that is occurring in literature, film, and surrounding criticism, making greater space for the appreciation of female aesthetics and for future inquiries in this field.

Postfeminist Film & Literary Aesthetics: In Search of the Female Gaze represents a novel and comprehensive study of the aesthetic and affective textual innovations of women in the 21st century from a postfeminist perspective. This book both defines and helps shape the contours of four fast-growing critically and commercially popular modes—millennial film and fiction, metamodernism, an anti-narrative and decorative realm named here as ‘still life’, and new cli-fi—in which there is no clear male equivalent or in which women’s work can be read as a distinct aesthetic force. As the textual constellation of now is being mapped and its key texts being canonised, this book contributes to the current recentring of aesthetic taste that is occurring in literature, film, and surrounding criticism, making greater space for the appreciation of female aesthetics and for future inquiries in this field.

Postfeminist Film & Literary Aesthetics: In Search of the Female Gaze represents a novel and comprehensive study of the aesthetic and affective textual innovations of women in the 21st century from a postfeminist perspective. This book both defines and helps shape the contours of four fast-growing critically and commercially popular modes—millennial film and fiction, metamodernism, an anti-narrative and decorative realm named here as ‘still life’, and new cli-fi—in which there is no clear male equivalent or in which women’s work can be read as a distinct aesthetic force. As the textual constellation of now is being mapped and its key texts being canonised, this book contributes to the current recentring of aesthetic taste that is occurring in literature, film, and surrounding criticism, making greater space for the appreciation of female aesthetics and for future inquiries in this field.