Feminist Cultural Studies, the Media, and Political Culture – serie

The Fantasy Factory explores the world of women on the other end of the phone sex lines advertised in magazines like Playboy and Hustler. The author's interviews with these women, as well as her own first-hand experiences as an operator, reveal the complex ways operators and callers negotiate the shifting borders between desire and disgust, fantasy and reality, deception and belief. The Fantasy Factory raises provocative questions about the manufacture of artificial intimacy and the technological mediation of intimacy, as well as about the social construction of sexuality and gender.Flowers discovers that operators-who assume names like Tiffany and Corvette-create a virtual reality in which callers can act out fantasies that operators may find boring, disgusting, or even frightening. She also discovers that even those women who are skilled at keeping their "true self" and their phone sex persona separate find that they have to struggle to protect that self and to maintain the ability to experience real intimacy.

In 1990 the fledgling Fox television network debuted its prime-time soap opera Beverly Hills, 90210, which was intended to appeal to viewers in their late teens and early twenties. Before long, not only did the network have a genuine hit with a large and devoted audience but the program had evolved into a cultural phenomenon as well, becoming a lens through which its youthful viewers defined much of their own sense of themselves. By an overwhelming majority the fans were female-young women between eleven and twenty-five whose experience of the program was addictive and intensely communal. They met in small groups to watch the program, discussing its plot and characters against the backdrops of their own ongoing lives. Wondering what this talk accomplished and what role it played in the construction of young female viewers' identities, Graham McKinley found several groups who watched the program and questioned them about the program's significance. Extracting generously from actual interviews, McKinley's investigation has the urgency of a heart-to-heart conversation, with rich anecdotal moments and revelations of self.

Why has so much of the public discussion of rape focused on a few specific cases, and to what extent has this discussion incorporated the feminist perspective on rape? Rape on Trial explores these questions and provides answers based on a detailed examination of the mainstream news coverage of the John and Greta Rideout marital rape case, the Big Dan's Tavern gang rape case, and the Webb-Dotson rape recantation case.Lisa M. Cuklanz traces where and how rape reform ideas were granted legitimacy in mainstream news coverage. She finds that while the subsequent fictionalized versions frequently adopted the themes foregrounded in the news coverage, they usually were more sympathetic toward-and indeed often took on-the rape victim's point of view.

Depictions of rape on television have evolved dramatically, from hard-boiled stories about male detectives to more insightful shows focusing on rape victims. Rape on Prime Time is the first book to examine those changing depictions of rape.Lisa M. Cuklanz reveals that prime-time television programs during the 1970s-usually detective shows-reflected traditional ideas that "real" rape is perpetrated by brutal strangers upon passive victims. Beginning in 1980, depictions of rape began to include attacks by known assailants, and victims began to address their feelings. By 1990, scripts portrayed date and marital rape and paid greater attention to the trial process, reflecting legal reformers' concerns. While previous studies have examined one series or genre, Cuklanz examines programs as dissimilar as Barney Miller, Dallas, The Cosby Show, and Quincy. She outlines the "basic plot" for rape episodes, then traces the historical development of rape themes. In each chapter she includes close analyses of episodes that add depth to findings derived from scripts and taped episodes. Rape on Prime Time provides important insight into the social construction of rape in mainstream mass media since the inception of rape law reform in 1974.

In a century that has taken us from the horse and buggy to the world wide web, science fiction has established itself as the literature to explore the ways in which technology transforms society while its counterpart, genre fantasy, insistently reminds us of the magical transformations of the individual in response to the demands of the social. So it should come as no surprise that the fans and producers of these genres come together to create the culture of the future around the ideal that tales of wonder about the future and the imaginary past can be shared as both symbolic communication and social capital. In Science Fiction Culture, Camille Bacon-Smith explores the science fiction community and its relationships with the industries that sustain it, including the publishing, computer, and hotel/convention industries, and explores the issue of power in those relationships: Who seems to have it? Who does have it? How do they use it? What are the results of that use? In the process, Bacon-Smith rejects the two major theoretical perspectives on mass culture reception. Consumers are not passive receivers of popular culture produced by the hegemonic ideology machine that is the mass media industry, nor are they rebels valiantly resisting that machine by reading against the grain of the interpretation designed into the products they consume. Bacon-Smith argues that the relationship between consumers of science fiction and producers is much more complex than either of these theories suggests. Using a wide range of theoretical perspectives, she shows that this relationship is based on a series of continuing negotiations across a broad spectrum of cultural interests.

Contemporary cultural theory, feminist criticism, and ethnography converge in this provocative study of the construction of meaning in mass culture. Television Culture and Women's Lives explores the complex relationship between the gender conflicts played out in the scripts of the popular television show thirtysomething and the real-life conflicts experienced by "baby-boomer" women viewers.Women viewers often reinterpreted the program's conservative view on gender roles, seeing it instead as a protest against real dilemmas women face as they try to integrate career and family priorities. Heide's study confirms women viewers' close identifications with thirtysomething characters and positions audience responses against the backdrop of changes in the lives of women in the 1980s and 1990s. Television Culture and Women's Lives accessibly treats fascinating issues related to cultural criticism, the relationship between mass media, and audiences, and the struggles faced by women in late twentieth-century America.

Family Plots traces the fault lines of the Freudian family romance and holds that the "family plot" is very much alive in post-World War II American culture. It cuts across all genres, insinuating, criticizing, reinforcing, and reinventing itself in all forms of cultural production and consumption. The family romance is everywhere because the family itself is nowhere.

Selected by Choice magazine as an Outstanding Academic TitleDow discusses a wide variety of television programming and provides specific case studies of The Mary Tyler Moore Show, One Day at a Time, Designing Women, Murphy Brown, and Dr. Quinn, Medicine Woman. She juxtaposes analyses of genre, plot, character development, and narrative structure with the larger debates over feminism that took place at the time the programs originally aired. Dow emphasizes the power of the relationships among television entertainment, news media, women's magazines, publicity, and celebrity biographies and interviews in creating a framework through which television viewers "make sense" of both the medium's portrayal of feminism and the nature of feminism itself.

Why has so much of the public discussion of rape focused on a few specific cases, and to what extent has this discussion incorporated the feminist perspective on rape? Rape on Trial explores these questions and provides answers based on a detailed examination of the mainstream news coverage of the John and Greta Rideout marital rape case, the Big Dan's Tavern gang rape case, and the Webb-Dotson rape recantation case.Lisa M. Cuklanz traces where and how rape reform ideas were granted legitimacy in mainstream news coverage. She finds that while the subsequent fictionalized versions frequently adopted the themes foregrounded in the news coverage, they usually were more sympathetic toward-and indeed often took on-the rape victim's point of view.

In 1990 the fledgling Fox television network debuted its prime-time soap opera Beverly Hills, 90210, which was intended to appeal to viewers in their late teens and early twenties. Before long, not only did the network have a genuine hit with a large and devoted audience but the program had evolved into a cultural phenomenon as well, becoming a lens through which its youthful viewers defined much of their own sense of themselves. By an overwhelming majority the fans were female-young women between eleven and twenty-five whose experience of the program was addictive and intensely communal. They met in small groups to watch the program, discussing its plot and characters against the backdrops of their own ongoing lives. Wondering what this talk accomplished and what role it played in the construction of young female viewers' identities, Graham McKinley found several groups who watched the program and questioned them about the program's significance. Extracting generously from actual interviews, McKinley's investigation has the urgency of a heart-to-heart conversation, with rich anecdotal moments and revelations of self.

The Fantasy Factory explores the world of women on the other end of the phone sex lines advertised in magazines like Playboy and Hustler. The author's interviews with these women, as well as her own first-hand experiences as an operator, reveal the complex ways operators and callers negotiate the shifting borders between desire and disgust, fantasy and reality, deception and belief. The Fantasy Factory raises provocative questions about the manufacture of artificial intimacy and the technological mediation of intimacy, as well as about the social construction of sexuality and gender.Flowers discovers that operators-who assume names like Tiffany and Corvette-create a virtual reality in which callers can act out fantasies that operators may find boring, disgusting, or even frightening. She also discovers that even those women who are skilled at keeping their "true self" and their phone sex persona separate find that they have to struggle to protect that self and to maintain the ability to experience real intimacy.

Women have been tricking men for thousands of years, and female tricksters have been appearing in classic and popular texts at least since the Thousand and One Nights. While there are many studies of tricksters, few have focused on the chicanery of women, and none have dealt with the ways in which the female trickster is constructed in America.Madcaps, Screwballs, and Con Women is the first book to explore the cultural work performed by female tricksters in the "new country" of American mass consumer culture. Beginning with such nineteenth-century novels as Capitola the Madcap and moving through twentieth-century novels, films, radio, and television shows, Lori Landay looks at how popular heroines use craft and deceit to circumvent the limitations of femininity. She considers texts of the 1920s such as Elinor Glyn's It and Anita Loos's Gentlemen Prefer Blondes; films of Mae West, as well as other Depression-era and wartime film comedy; the postwar television series I Love Lucy; and such contemporary texts as "Roseanne," "Ellen," and "Batman." In addition, Landay explores the connections between these texts and advertisements selling products that encourage female deception and trickery.

Depictions of rape on television have evolved dramatically, from hard-boiled stories about male detectives to more insightful shows focusing on rape victims. Rape on Prime Time is the first book to examine those changing depictions of rape.Lisa M. Cuklanz reveals that prime-time television programs during the 1970s-usually detective shows-reflected traditional ideas that "real" rape is perpetrated by brutal strangers upon passive victims. Beginning in 1980, depictions of rape began to include attacks by known assailants, and victims began to address their feelings. By 1990, scripts portrayed date and marital rape and paid greater attention to the trial process, reflecting legal reformers' concerns. While previous studies have examined one series or genre, Cuklanz examines programs as dissimilar as Barney Miller, Dallas, The Cosby Show, and Quincy. She outlines the "basic plot" for rape episodes, then traces the historical development of rape themes. In each chapter she includes close analyses of episodes that add depth to findings derived from scripts and taped episodes. Rape on Prime Time provides important insight into the social construction of rape in mainstream mass media since the inception of rape law reform in 1974.