Difficult Women: Changing Representations of Female Characters in Contemporary Television Series

2019 ◽  
Vol 67 (2) ◽  
pp. 109-129
Author(s):  
Svenja Hohenstein ◽  
Katharina Thalmann
Keyword(s):  
Female Characters ◽  
Television Series ◽  
Female Representation ◽  
Time Period ◽  
Feminist Discourse ◽  
Tv Shows ◽  
Representations Of Women

Abstract Starting out with a brief overview of recent TV series that feature complex and complicated female characters – or, as we call them, ‘difficult women’ – this introduction investigates the changing manner in which women have been represented on TV in previous decades. Demonstrating that especially TV shows of the 2010s undermine and work against traditional and stereotypical portrayals of women on TV and instead establish feminist discourses, we argue that this time period can be defined as a pivotal moment with regard to changing representations of women on TV. Using Netflix’s Orange Is the New Black as an example, we also show that TV series that feature difficult women make use of the very techniques and conventions of what Jason Mittell has described as ‘Complex TV’ in order to consciously engage with questions of female representation on TV and to create a feminist discourse that works against sexist tropes and stereotypes.

scholarly journals “Binge-Watching”: The New Way of Watching TV Series

2018 ◽  
pp. 15
Author(s):  
Srđan Krstić
Keyword(s):  
Social Networks ◽  
Media Studies ◽  
Media Theory ◽  
Television Series ◽  
Research Article ◽  
Central Hypothesis ◽  
Tv Shows ◽  
Watching Tv ◽  
Tv Show

In this paper I deal with the concept of the binge-watching of television series episodes. The word binge means a period of excessive indulgence in an activity. Particularly, in terms of media theory, it becomes synonymous with obsessive, marathon watching of TV shows and movies through streaming television. The central hypothesis is that binge-watching goes beyond what has for previous decades been considered a generally accepted way of watching TV content. In order to better understand this notion, it is also necessary to explain the importance of non-linear television and its distinction in relation to ‘traditional’ or linear television. I will pay special attention to social networks as an indispensable factor that completes the binge-watching experience. Social networks are also involved in the peripheral specifics of binge-watching that lead to the emergence of new occupations, which are in direct correlation with the desire of viewers to be informed about their favorite TV content. I also performed a case study of the TV show Pretty Little Liars (PLL). This show had strong effect on connecting creators with viewers through social networks. As a relatively new phenomenon, binge-watching has the potential to soon become an interesting subject of research. Article received: March 27, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paperHow to cite this article: Krstić, Srđan. "'Binge-Watching': The New Way of Watching TV Series." AM Journal of Art and Media Studies 17 (2018): 15−23. doi: 10.25038/am.v0i17.266 

scholarly journals Normative Model Of New-Woman: A Discourse Of Ten Female Protagonists Of Urdu TV Drama Serials (2010-2019)

2020 ◽  
Vol 20 (2) ◽  
pp. 123-138
Author(s):  
Saleem Abbas ◽  
Firasat Jabeen ◽  
Muhammad Askari
Keyword(s):  
Content Analysis ◽  
Middle Class ◽  
New Woman ◽  
Qualitative Content Analysis ◽  
Female Characters ◽  
Female Representation ◽  
Normative Model ◽  
Female Protagonists ◽  
Predominant Form ◽  
Cultural Conservatism

This paper examines the normative model of ‘new woman’ (Dutoya 2018) in Pakistani dramas from the perspective of gender, class, and culture. TV drama is a predominant form of entertainment in Pakistani media. In early Urdu dramas, female characters are infrequently depicted in a progressive way but now, educated, independent, and urban middle-class women can generally be observed in lead and supporting roles. Along with a shift of female representation in Pakistani Urdu dramas, the study discusses the construction of a Pakistani normative model of ‘new womanhood.’ Through a qualitative content analysis of ten female protagonists from Pakistani Urdu TV dramas of last decade (2010 through 2019), I argue that Dutoya’s socially permissible model of ‘new woman’ can be noticed in the majority of contemporary Urdu dramas. In other words, female protagonists are portrayed with diverse attributes of modesty and modernity. I further argue that the idea of ‘new woman’ is not a new phenomenon for the Pakistani society. Unlike a colonial idea of ‘super wife’ and Victorian concept of ‘super woman,’ my assertion is that Pakistani version of ‘new woman’ is a response to western wave of feminism, religious orthodoxy at home, and cultural conservatism prevalent in Pakistan.

scholarly journals Taxonomía de las series de televisión españolas en la era digital (2000-2020)

2021 ◽  
Author(s):  
Javier Mateos-Pérez ◽  
Rebeca Sirera-Blanco
Keyword(s):  
Economic Crisis ◽  
Video On Demand ◽  
Complete Characterization ◽  
Channel Number ◽  
Digital Television ◽  
Female Characters ◽  
Television Series ◽  
On Demand ◽  
Digital Era

This article analyzes all fiction series and miniseries produced and broadcasted in Spain on linear and digital television channels as well as video-on-demand platforms in the period 2000–2020. The aim is to collect, quantify, classify, and characterize Spanish-produced television series. A methodology with a mixed, quantitative–qualitative design is proposed to quantify, classify, and categorize the 545 identified fictional works. The resulting database includes fields for the year of first broadcast, format, genre, platform, channel, number of episodes and seasons, duration, and rating. This taxonomy is the first to present a complete characterization of all fictional series produced and broadcasted in Spain during the digital era. Based on the results, three periods can be distinguished: the development of the series, the economic crisis of 2008, and the arrival of video-on-demand platforms in Spain. It is concluded that comedies have been overwhelmed by other major genres, such as dramas or police series. Television series are adapting to the new society that consumes them, portraying its social debates, fears, and aspirations through new themes while also reducing their length, mixing some genres with others, and with an increasing presence and prominence of female characters to the detriment of men. Resumen Se recopilan, cuantifican, clasifican y caracterizan las 545 series y miniseries de ficción de producción española, emitidas por los canales de televisión lineal, digital y las plataformas de vídeo bajo demanda, en el período 2000-2020. Se propone una metodología con un diseño mixto: cuantitativa y cualitativa. Se ha creado una base de datos que incluye los campos: año de estreno, formato, género, plataforma, canal, número de episodios y temporadas, duración y valoración. De esta manera se propone, por vez primera, una taxonomía que considera la caracterización completa del total de las ficciones seriadas españolas emitidas en España durante la era digital. Los resultados distinguen tres periodos por: el desarrollo de la ficción televisiva, la crisis económica de 2008, y la llegada de las plataformas de vídeo bajo demanda al país. Se concluye que las comedias han sido desbordadas por otros géneros mayoritarios, como los dramáticos o los policiales. La ficción de televisión se adapta a la nueva sociedad que las consume, retratando a través de temáticas novedosas sus debates sociales, sus miedos y sus aspiraciones. Se ha reducido su duración, mezclando unos géneros con otros y concediendo cada vez más presencia y protagonismo a personajes de mujeres en detrimento de los hombres.

scholarly journals Women’s Language Features in Emily in Paris: A Sociolinguistics Study

HUMANIS ◽  
2021 ◽  
Vol 25 (3) ◽  
pp. 269
Author(s):  
Meyliana Eka Putri ◽  
Ni Luh Sutjiati Beratha ◽  
Sang Ayu Isnu Maharani
Keyword(s):  
Qualitative Method ◽  
Female Characters ◽  
Television Series ◽  
Color Terms ◽  
Observation Method ◽  
Undergraduate Thesis ◽  
Descriptive Qualitative

This undergraduate thesis discusses the usage of women’s language features in the television series Emily in Paris. The study analyzes the features of women’s language and its functions in the television series. This study uses observation method in collecting the data. The data were taken from Emily in Paris television series and the movie scripts. Descriptive qualitative method is used to analyze the data by applying women’s language features theory by Lakoff. Based on the analysis and data taken, there are 480 utterance of women’s language features found and ten features of women’s language used by the female characters in Emily in Paris. Lexical hedges or fillers is the most used feature and precise color terms is the least used feature.

scholarly journals The representation of workingwomen in Spanish television fiction

Comunicar ◽  
2016 ◽  
Vol 24 (47) ◽  
pp. 59-67 ◽  
Author(s):  
Charo Lacalle ◽  
Beatriz Gómez
Keyword(s):  
Customer Service ◽  
Academic Research ◽  
Working Women ◽  
Female Characters ◽  
Women In The Workplace ◽  
Care Giving ◽  
Tv Shows ◽  
Las Mujeres ◽  
The Public Sphere ◽  
Female Professionals

During the sixties and seventies the limited presence of women in the public sphere was reflected in the restricted repertoire of roles played by female characters in television fiction (mainly those of mothers and wives). The strengthening of the feminist movement in the following decades increased and diversified the portrayals of women in the workplace, and further encouraged academic research on the social construction of working women. Despite the relevance of female professionals in current TV shows, the importance of romantic relationships and sexuality has led to a decreasing number of studies on the subject. This article summarizes the results of a study on working women in Spanish TV fiction, part of a larger project on the construction of female identities. The research uses an original methodology that combines quantitative techniques and qualitative methods (socio-semiotics) to analyse the sample of 709 female characters. The results show a coexistence of the traditional stereotypes of working women in customer service and care-giving positions with those of highly skilled female professionals. However, the empowerment of women in positions of responsibility is often associated with a negative portrayal of the character, while the problems of reconciling family and work are systematically avoided. La reducida presencia de la mujer en la esfera pública durante los años sesenta y setenta se reflejaba en el limitado repertorio de roles (madre y esposa principalmente) que le atribuía la ficción televisiva. El impulso feminista de las décadas sucesivas estimuló las representaciones de los personajes femeninos en el ámbito laboral y la reflexión académica sobre la construcción social de la mujer trabajadora. Pero, a pesar de la relevancia del rol profesional en las protagonistas de la ficción actual, la relevancia de las relaciones sentimentales y de la sexualidad ha revertido en el reducido número de estudios sobre el tema. Este artículo sintetiza los resultados de un análisis de la mujer trabajadora en la ficción televisiva española, integrado en un proyecto sobre construcción de identidades femeninas. La investigación propone una metodología original, que combina métodos cuantitativos y cualitativos (socio-semiótica) para afrontar el estudio de 709 personajes femeninos. La investigación revela la convivencia de estereotipos ligados a las representaciones tradicionales de los empleos de las mujeres (trabajos relacionados con la atención al público y el cuidado de las personas) con otras profesiones altamente cualificadas. Sin embargo, el empoderamiento de las mujeres con cargos de responsabilidad se asocia frecuentemente con una caracterización negativa del personaje, al tiempo que los problemas de conciliación de los roles familiares y profesionales se eluden sistemáticamente.

‘Does he know you like I know you?’: Barbara Kean’s bisexual appeal, the Male Gothic and Gotham’s woman problem

2021 ◽  
Vol 6 (1) ◽  
pp. 19-33 ◽  
Author(s):  
Carey Millsap-Spears
Keyword(s):  
Narrative Structure ◽  
Female Characters ◽  
Television Series ◽  
The Us ◽  
Media Texts ◽  
Definition Of

This article discusses how the FOX television series Gotham (2014–19) fits the overall definition of a traditional Male (Horror) Gothic text and how disruptive female characters, like Barbara Kean, push against these seemingly strict Gothic boundaries. Through the development of the bisexual character Barbara Kean, the conservative, Male Gothic foundation is ultimately questioned in the US television series. Gotham’s portrayal of Barbara not only propagates bisexual stereotypes, but it also speaks to the larger discussion of bisexual aversion and eventual erasure present in many media texts. Additionally, Gotham employs the depraved bisexual trope, in which bisexual characters, like Barbara, are shown to be duplicitous. Barbara Kean, however, transgresses the boundaries of the Male Gothic tradition and thrives within the narrative structure of Gotham.

Portrayal of Women in Nollywood Films and the Role of Women in National Development

2017 ◽  
pp. 126-140
Author(s):  
Suleimanu Usaini ◽  
Ngozi M. Chilaka ◽  
Nelson Okorie
Keyword(s):  
Content Analysis ◽  
Emotional Abuse ◽  
Group Discussion ◽  
National Development ◽  
Female Characters ◽  
Narrative Style ◽  
Film Scripts ◽  
The Right ◽  
Representations Of Women

This study investigates how women are portrayed in Nollywood films, as well as the interpretation of their representations. It aims at understanding how the images of women are reflected in films, with a focus on investigating the influence of such portrayals on their role in national development. The methods adopted were Quantitative Content Analysis (five Nollywood films were content analysed) and Focus Group Discussion (three sessions of FGD were organised). Data collected and analysed show that over two-thirds of major female characters analysed were portrayed as dependent, 80% were depicted in such situations of physical, sexual, and emotional abuse, while only 30% of the major female characters were portrayed as career professionals and intellectuals. It was observed from the analyses that portrayals and representations of women have negative influences on their contributions towards national development. The study concludes, therefore, that positive portrayal of women in Nollywood films should be encouraged. This can only be made possible through changing the narrative style of the film scripts. This is a call for more female script writers and directors to be involved in charting the narratives that will adequately give women a voice, new roles, and the right representation in Nollywood films.

Portrayal of Women in Nollywood Films and the Role of Women in National Development

2020 ◽  
pp. 292-306
Author(s):  
Suleimanu Usaini ◽  
Ngozi M. Chilaka ◽  
Nelson Okorie
Keyword(s):  
Content Analysis ◽  
Emotional Abuse ◽  
Group Discussion ◽  
National Development ◽  
Female Characters ◽  
Narrative Style ◽  
Film Scripts ◽  
The Right ◽  
Representations Of Women

This study investigates how women are portrayed in Nollywood films, as well as the interpretation of their representations. It aims at understanding how the images of women are reflected in films, with a focus on investigating the influence of such portrayals on their role in national development. The methods adopted were Quantitative Content Analysis (five Nollywood films were content analysed) and Focus Group Discussion (three sessions of FGD were organised). Data collected and analysed show that over two-thirds of major female characters analysed were portrayed as dependent, 80% were depicted in such situations of physical, sexual, and emotional abuse, while only 30% of the major female characters were portrayed as career professionals and intellectuals. It was observed from the analyses that portrayals and representations of women have negative influences on their contributions towards national development. The study concludes, therefore, that positive portrayal of women in Nollywood films should be encouraged. This can only be made possible through changing the narrative style of the film scripts. This is a call for more female script writers and directors to be involved in charting the narratives that will adequately give women a voice, new roles, and the right representation in Nollywood films.

“Proper, Dignified Agitation”

2018 ◽  
Author(s):  
Brittney C. Cooper
Keyword(s):  
Black Women ◽  
Civil Rights ◽  
Racial Uplift ◽  
Black Feminist ◽  
Civil Rights Era ◽  
Women Intellectuals ◽  
Time Period ◽  
Feminist Discourse ◽  
Critical Theorist ◽  
And Gender

This chapter recuperates Mary Church Terrell as a critical theorist of Black racial uplift. The first President of the NACW, Terrell went on to have a sixty-year career in Civil Rights activism. This chapter moves across the span of her career, mapping her development of a concept called “dignified agitation,” which she introduces in a 1913 speech. She returns to this formulation throughout her career, and the author argues that this idea of dignified agitation is one that she both learned and propagated as part of the NACW school of thought. But it also acts as a bridge concept, and she, as a bridge figure to Civil Rights era Black women intellectuals, who both respected the NACW school of thought and sought to move beyond it in critical ways. Because of the deliberate ways that Terrell wrote about her love of dancing in her autobiography, this chapter also considers the ways in which she is part of a genealogy of Black women’s pleasure politics, even though the current Black feminist discourse on pleasure typically focuses on blues women in this time period. Because Terrell is considered one of the foremost proselytizers of respectability, a turn toward her articulation of pleasure politics richly complicates the manner in which we read her as a theorist of racial resistance and gender progressivism.

Politics and Gender: The Need for Electoral Reform

Politics ◽  
1995 ◽  
Vol 15 (3) ◽  
pp. 141-146 ◽  
Author(s):  
Kerstin Barkman
Keyword(s):  
Political Representation ◽  
Electoral System ◽  
Electoral Reform ◽  
Female Representation ◽  
Representation Systems ◽  
Time Period ◽  
Politics And Gender ◽  
And Gender ◽  
Using Data ◽  
Industrialised Countries

Using data from twenty industrialised countries, this paper presents a model attempting to explain the proportion of female representation in national legislatures. The results show the type of electoral system to be an important factor which can help or hinder an increase in women's political representation. While proportional representation systems facilitate the election of women, single constituency systems (such as Britain's ‘First Past The Post System’) constitute a major obstacle. The paper therefore argues that electoral reform in Britain is necessary if female representation in Parliament is to increase from the current 9% to parity within a reasonable time period.

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