scholarly journals Making do on not much: High Energy Striving, Femininity and Friendship in Broad City

2020 ◽  
Vol 11 (3-4) ◽  
pp. 517-533
Author(s):  
Akane Kanai ◽  
Amy Dobson

In the years following the 2008 global financial crisis (“GFC”), feminist media scholarship has drawn attention to the gendered calls in Western media culture to remake subjectivity in line with imperatives of thrift required in conditions of austerity. In the shared symbolic environments that “gender the recession” (Negra & Tasker, 2014), media ranging from news, reality television, and film have placed further, intensified demands on women’s domestic, affective, paid and unpaid labour, requiring attitudinal orientations combining future-oriented enthusiasm, positivity, entrepreneurialism, a continued faith in (budget-conscious) consumption and investment in the home and the family. This article considers the US comedy Broad City as an articulation of how young women are critically grappling with such shifts in gendered social relations and labour markets in the cosmopolitan setting of New York City. We suggest, in the depiction of the central female friendship between Abbi Abrams (Abbi Jacobson) and Ilana Wexler (Ilana Glazer) in Broad City, the show foregrounds the necessity of young women’s “high energy striving” but produces an alternative configuration of the normative relation between femininity and labour. In the show, contra the “retreatism” Negra and Tasker document idealising women’s work in the home as a means of combatting an austere future, the thrifty fun, care, support, and love Abbi and Ilana strive to create together spills across public spaces, spanning the streets of the city, outdoors in parks and on stoops. Abbi and Ilana are continually depicted labouring in some way, though such labour does not generally result in financial or career-based reward, but rather, produces psychic and emotional sustenance for the women’s friendship and a means of affectively investing in each other. Thus, in Broad City’s acknowledgement of the high energy striving required to survive, the show critically questions the relation of such feminine striving to the promise of career, financial success, and the idealised direction of such striving towards the domestic and hetero-patriarchal family. Instead, the show emphasises the material importance of such striving in relation to the bonds of women’s friendship in conditions of material and social hardship, suggesting a different orientation to women’s work and its place in recessional culture.

2020 ◽  
Vol 15 (1) ◽  
pp. 22-34
Author(s):  
Eva Revitt

Overwhelmingly, librarians working at Canadian universities are considered academic staff, if not faculty. However, the role and fit of the academic librarian within the academic enterprise is overshadowed and frequently misunderstood. As alt-academics, librarians' expertise and contribution to the university's academic mission is often sidelined: the nature of the work too frequently viewed through an organizational rather than an academic lens and characterized as preoccupied with a structured set of regularized responsibilities. Drawing on the findings of my doctoral research, an institutional ethnography of librarians' work experiences as academic staff, this article argues that social relations such as those that construct work value are historically rotted and ideologically determined. I propose that our speech, text, and talk, indeed our social consciousness, is permeated by two ideological codes—women's work and the library—that structure librarians' labour in a particular way. Ultimately, I link the devaluation of librarians' work to the necessary gendered exploitation of labour that happens within a capitalist mode of production.  


2020 ◽  
Vol 11 (3-4) ◽  
pp. 421-442
Author(s):  
Alexa Faerber ◽  
Aneta Podkalicka

Concepts of thrift and dwelling are central to how societies live together. Thrift refers to a complex and morally-loaded set of economic practices that people engage with out of necessity, choice, or both. Whilst home-making or dwelling refers to social integration and self-representation. The ways in which social realms of thrift and dwelling relate to each other are historically and culturally specific, and media representations are an important intersection for reflecting and putting forward specific ‘imaginaries’ of thrift and dwelling. In this special issue, depictions of thrift in popular television are treated inclusively and span makeover reality TV, comedy-drama and documentaries, and target different national and international audiences. Contributions by researchers from the US, France, Germany and Australia examine how ‘appropriate’ ways of dwelling, involving thrift are negotiated in situations marked by material scarcity, precarity and aspirational lifestyles. These include: negotiating the harsh realities of housing in expensive cities such as New York in Insecure or Broad City (Perkins; Kanai & Dobson), make-over through decluttering and controlling debt in Tidying Up with Marie Kondo (Ouellette); Life or Debt; Raus aus den Schulden (Meyer), and are linked to specific historical and social circumstances in different national contexts. Suburban areas of post-war France are represented in 1967-1981 TV documentaries (Overney); gentrified British rural areas in Midsomer Murders (Zahlmann) and post-recessional New York City after the 2007-8 Global Financial Crisis (GFC) in Broad City. Drawing on recent thrift scholarship and analyses of televised thrift in this special issue, we demonstrate how thrift and dwelling are articulated largely as a middle-class concern and a disciplining discourse and apparatus. Positive incidents of thrift are also revealed for example, in the comedy form and female voice in French post-war women’s documentaries. In other discussions there is much scepticism over the possibilities for protagonists to self-fashion themselves within the system of television series. This raises the question of whether alternative forms of imagining subjectivities and social relations in neo-liberal economies of dwelling can occur in entertainment television, or whether thrift imagined as what we call ‘televised endurance’ merely serves to reproduce the status quo as an irreversible condition.


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