Titlebook: Women in Neoliberal Postfeminist Television Drama; Representing Gendere Cat Mahoney Book 2019 The Editor(s) (if applicable) and The Author(

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Flu表流動

Finding a Feminine Space in Female Ensemble Drama: Postfeminist Visions of Female Liberation in ,,n which . utilises its affiliation with ‘women’s genres’ to generate realism that is not reliant on historical accuracy. Through this affiliation postfeminist norms are dehistoricised and woven into the cultural mythology and memory of the Second World War.

言外之意

The Horror of Transgressive Femininity in ,,orror scholarship, this chapter will discuss the series’ depiction of gender as a whole and particularly the depiction of Susan, the series’ ostensible main character. In this way, it will seek to demonstrate the ways in which the space outside of postfeminism and those who willingly occupy it are constructed as dangerous, deviant and destructive.

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: Deconstructing the Domestic Ideal,at . is a postfeminist text that employs nostalgia to establish a trajectory for postfeminism. Consequently, the series suggests the possibility of a journey from pre-feminism to postfeminism without the need for the disruption of second wave feminism in between.

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Finding a Feminine Space in Female Ensemble Drama: Postfeminist Visions of Female Liberation in ,,of the postfeminist media climate in which it was created and as an example of female ensemble drama (FED). Thinking about the potential of FED, it will explore the concept of women’s history on television and the possibilities created when male characters are de-centred. It will consider the ways i

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The Horror of Transgressive Femininity in ,,es can only be resolved through an acceptance of and adherence to postfeminist gender norms. In its representation of its characters’ attempts to reject or move outside the normative boundaries of postfeminism, . demonstrates the futility of the attempted alternatives. With reference to aspects of h