Jessalynn Keller – författare

From sites like Hollaback! and Everyday Sexism, which document instances of street harassment and misogyny, to social media-organized movements and communities like #MeToo and #BeenRapedNeverReported, feminists are using participatory digital media as activist tools to speak, network, and organize against sexism, misogyny, and rape culture. As the first book-length study to examine how girls, women, and some men negotiate rape culture through the use of digital platforms, including blogs, Twitter, Facebook, Tumblr, and mobile apps, the authors explore four primary questions: What experiences of harassment, misogyny, and rape culture are being responded to? How are participants using digital media technologies to document experiences of sexual violence, harassment, and sexism? Why are girls, women and some men choosing to mobilize digital media technologies in this way? And finally, what are the various experiences of using digital technologies to engage in activism? In order to capture these diverse experiences of doing digital feminist activism, the authors augment their analysis of this media (blog posts, tweets, and selfies) with in-depth interviews and close-observations of several online communities that operate globally. Ultimately, the book demonstrates the nuances within and between digital feminist activism and highlight that, although it may be technologically easy for many groups to engage in digital feminist activism, there remain emotional, mental, or practical barriers which create different experiences, and legitimate some feminist voices, perspectives, and experiences over others.

From sites like Hollaback! and Everyday Sexism, which document instances of street harassment and misogyny, to social media-organized movements and communities like #MeToo and #BeenRapedNeverReported, feminists are using participatory digital media as activist tools to speak, network, and organize against sexism, misogyny, and rape culture. As the first book-length study to examine how girls, women, and some men negotiate rape culture through the use of digital platforms, including blogs, Twitter, Facebook, Tumblr, and mobile apps, the authors explore four primary questions: What experiences of harassment, misogyny, and rape culture are being responded to? How are participants using digital media technologies to document experiences of sexual violence, harassment, and sexism? Why are girls, women and some men choosing to mobilize digital media technologies in this way? And finally, what are the various experiences of using digital technologies to engage in activism? In order to capture these diverse experiences of doing digital feminist activism, the authors augment their analysis of this media (blog posts, tweets, and selfies) with in-depth interviews and close-observations of several online communities that operate globally. Ultimately, the book demonstrates the nuances within and between digital feminist activism and highlight that, although it may be technologically easy for many groups to engage in digital feminist activism, there remain emotional, mental, or practical barriers which create different experiences, and legitimate some feminist voices, perspectives, and experiences over others.

Feminism and generation are live and ideologically freighted issues that are subject to a substantial amount of media engagement. The figure of the millennial and the baby boomer, for example, regularly circulate in mainstream media, often accompanied by hyperbolic and vitriolic discourses and effects of intergenerational feminist conflict. In addition, theories of feminist generation and waves have been, and continue to be, extensively critiqued within feminist theory. Given the compelling criticisms directed at these categories, we ask: why bother examining and foregrounding issues of generation, intergeneration, and transgeneration in feminist media studies? While remaining skeptical of linearity and familial metaphors and of repeating reductive, heteronormative, and racist versions of feminist movements, we believe that the concept of generation does have critical purchase for feminist media scholars. Indeed, precisely because of the problematic ways in which it is used, and its prevalence as a volatile, yet only too palpable, organizing category, generation is in need of continual critical analysis, and is an important tool to be used—with care and nuance—when examining the multiple routes through which power functions in order to marginalize, reward, and oppress. This book covers a range of media forms: film; games; digital media; television; print media; and practices of media production, intervention, and representation. The contributors explore how figures at particular stages of life—particularly the girl and the aging woman—are constructed relationally and circulate within media, with particular attention to sexuality. The book emphasizes exploring the ways in which the category of generation is mobilized in order to gloss sexism, racism, ageism, class oppression, and the effects of neoliberalism. The chapters in this book were originally published as a special issue of Feminist Media Studies.

Girls’ Feminist Blogging in a Postfeminist Age explores the practices of U.S.-based teenage girls who actively maintain feminist blogs and participate in the feminist blogosphere as readers, writers, and commenters on platforms including Blogspot, Facebook, Twitter, and Tumblr. Drawing on interviews with bloggers between the ages of fifteen and twenty-one, as well as discursive textual analyses of feminist blogs and social networking postings authored by teenage girls, Keller addresses how these girls use blogging as a practice to articulate contemporary feminisms and craft their own identities as feminists and activists. In this sense, feminist girl bloggers defy hegemonic postfeminist and neoliberal girlhood subjectivities, a finding that Keller uses to complicate both academic and popular assertions that suggest teenage girls are uninterested in feminism. Instead, Keller maintains that these young bloggers employ digital media production to educate their peers about feminism, connect with like-minded activists, write feminist history, and make feminism visible within popular culture, practices that build upon and continue a lengthy tradition of American feminism into the twenty-first century. Girls’ Feminist Bloggers in a Postfeminist Age challenges readers to not only reconsider teenage girls’ online practices as politically and culturally significant, but to better understand their crucial role in a thriving contemporary feminism.

Through twelve chapters that historicize and re-evaluate postfeminism as a dominant framework of feminist media studies, this collection maps out new modes of feminist media analysis at both theoretical and empirical levels and offers new insights into the visibility and circulation of feminist politics in contemporary media cultures. The essays in this collection resituate feminism within current debates about postfeminism, considering how both operate as modes of political engagement and as scholarly traditions. Authors analyze a range of media texts and practices including American television shows Being Mary Jane and Inside Amy Schumer, Beyonce’s "Formation" music video, misandry memes, and Hong Kong cinema.

Through twelve chapters that historicize and re-evaluate postfeminism as a dominant framework of feminist media studies, this collection maps out new modes of feminist media analysis at both theoretical and empirical levels and offers new insights into the visibility and circulation of feminist politics in contemporary media cultures. The essays in this collection resituate feminism within current debates about postfeminism, considering how both operate as modes of political engagement and as scholarly traditions. Authors analyze a range of media texts and practices including American television shows Being Mary Jane and Inside Amy Schumer, Beyonce’s "Formation" music video, misandry memes, and Hong Kong cinema.

Feminism and generation are live and ideologically freighted issues that are subject to a substantial amount of media engagement. The figure of the millennial and the baby boomer, for example, regularly circulate in mainstream media, often accompanied by hyperbolic and vitriolic discourses and effects of intergenerational feminist conflict. In addition, theories of feminist generation and waves have been, and continue to be, extensively critiqued within feminist theory. Given the compelling criticisms directed at these categories, we ask: why bother examining and foregrounding issues of generation, intergeneration, and transgeneration in feminist media studies? While remaining skeptical of linearity and familial metaphors and of repeating reductive, heteronormative, and racist versions of feminist movements, we believe that the concept of generation does have critical purchase for feminist media scholars. Indeed, precisely because of the problematic ways in which it is used, and its prevalence as a volatile, yet only too palpable, organizing category, generation is in need of continual critical analysis, and is an important tool to be used—with care and nuance—when examining the multiple routes through which power functions in order to marginalize, reward, and oppress. This book covers a range of media forms: film; games; digital media; television; print media; and practices of media production, intervention, and representation. The contributors explore how figures at particular stages of life—particularly the girl and the aging woman—are constructed relationally and circulate within media, with particular attention to sexuality. The book emphasizes exploring the ways in which the category of generation is mobilized in order to gloss sexism, racism, ageism, class oppression, and the effects of neoliberalism. The chapters in this book were originally published as a special issue of Feminist Media Studies.