Rebecca Stringer – författare

Knowing Victims explores the theme of victimhood in contemporary feminism and politics. It focuses on popular and scholarly constructions of feminism as ‘victim feminism’ – an ideology of passive victimhood that denies women’s agency – and provides the first comprehensive analysis of the debate about this ideology which has unfolded among feminists since the 1980s.

The book critically examines a movement away from the language of victimhood across a wide array of discourses, and the neoliberal replacement of the concept of structural oppression with the concept of personal responsibility. In derogating the notion of ‘victim,’ neoliberalism promotes a conception of victimization as subjective rather than social, a state of mind, rather than a worldly situation.

Drawing upon Nietzsche, Lyotard, rape crisis feminism and feminist philosophy, Stringer situates feminist politicizations of rape, interpersonal violence, economic inequality and welfare reform as key sites of resistance to the victim-blaming logic of neoliberalism. She suggests that although recent feminist critiques of ‘victim feminism’ have critically diagnosed the anti-victim movement, they have not positively defended victim politics. Stringer argues that a conception of the victim as an agentic bearer of knowledge, and an understanding of resentment as a generative force for social change, provides a potent counter to the negative construction of victimhood characteristic of the neoliberal era.

This accessible and insightful analysis of feminism, neoliberalism and the social construction of victimhood will be of great interest to researchers and students in the disciplines of gender and women’s studies, psychology, sociology, politics and philosophy.

Knowing Victims explores the theme of victimhood in contemporary feminism and politics. It focuses on popular and scholarly constructions of feminism as ‘victim feminism’ – an ideology of passive victimhood that denies women’s agency – and provides the first comprehensive analysis of the debate about this ideology which has unfolded among feminists since the 1980s.

The book critically examines a movement away from the language of victimhood across a wide array of discourses, and the neoliberal replacement of the concept of structural oppression with the concept of personal responsibility. In derogating the notion of ‘victim,’ neoliberalism promotes a conception of victimization as subjective rather than social, a state of mind, rather than a worldly situation.

Drawing upon Nietzsche, Lyotard, rape crisis feminism and feminist philosophy, Stringer situates feminist politicizations of rape, interpersonal violence, economic inequality and welfare reform as key sites of resistance to the victim-blaming logic of neoliberalism. She suggests that although recent feminist critiques of ‘victim feminism’ have critically diagnosed the anti-victim movement, they have not positively defended victim politics. Stringer argues that a conception of the victim as an agentic bearer of knowledge, and an understanding of resentment as a generative force for social change, provides a potent counter to the negative construction of victimhood characteristic of the neoliberal era.

This accessible and insightful analysis of feminism, neoliberalism and the social construction of victimhood will be of great interest to researchers and students in the disciplines of gender and women’s studies, psychology, sociology, politics and philosophy.

Feminism at the Movies: Understanding Gender in Contemporary Popular Cinema examines the way that contemporary film reflects today’s changing gender roles. The book offers a comprehensive overview of the central issues in feminist film criticism with analyses of over twenty popular contemporary films across a range of genres, such as chick flicks, teen pics, hommecoms, horror, action adventure, indie flicks, and women lawyer films. Contributors explore issues of femininity as well as masculinity, reflecting on the interface of popular cinema with gendered realities and feminist ideas. Topics include the gendered political economy of cinema, the female director as auteur, postfeminist fatherhood, consumer culture, depictions of professional women, transgender, sexuality, gendered violence, and the intersections of gender, race, and ethnic identities.

The volume contains essays by following contributors: Taunya Lovell Banks, Heather Brook, Mridula Nath Chakraborty, Michael DeAngelis, Barry Keith Grant, Kelly Kessler, Hannah Hamad, Christina Lane (with Nicole Richter), JaneMaree Maher, David Hansen-Miller (with Rosalind Gill), Gary Needham, Sarah Projansky, Hilary Radner, Rob Schaap, Yael D Sherman, Michele Shreiber, Janet Staiger, Peter Stapleton, Rebecca Stringer, Yvonne Tasker, and Ewa Ziarek.

Feminism at the Movies: Understanding Gender in Contemporary Popular Cinema examines the way that contemporary film reflects today’s changing gender roles. The book offers a comprehensive overview of the central issues in feminist film criticism with analyses of over twenty popular contemporary films across a range of genres, such as chick flicks, teen pics, hommecoms, horror, action adventure, indie flicks, and women lawyer films. Contributors explore issues of femininity as well as masculinity, reflecting on the interface of popular cinema with gendered realities and feminist ideas. Topics include the gendered political economy of cinema, the female director as auteur, postfeminist fatherhood, consumer culture, depictions of professional women, transgender, sexuality, gendered violence, and the intersections of gender, race, and ethnic identities.

The volume contains essays by following contributors: Taunya Lovell Banks, Heather Brook, Mridula Nath Chakraborty, Michael DeAngelis, Barry Keith Grant, Kelly Kessler, Hannah Hamad, Christina Lane (with Nicole Richter), JaneMaree Maher, David Hansen-Miller (with Rosalind Gill), Gary Needham, Sarah Projansky, Hilary Radner, Rob Schaap, Yael D Sherman, Michele Shreiber, Janet Staiger, Peter Stapleton, Rebecca Stringer, Yvonne Tasker, and Ewa Ziarek.