I want to be independent and I am, and I want to be considered a person in my own right which I usually am, but I also have a lot of feelings about being taken care of by a man. “It’s very confusing to know what you want from a man, given the women’s movement. Also worth noting is the fact that Dolly, the character played by Cher in one of her first dramatic acting roles, is one the first representations of an LGBT character on film. The movie was nominated for five Academy Awards including Best Original Screenplay for Ephron, and Streep’s portrayal of Karen Silkwood became the first in a long line of strong female characters that Ephron would bring to the big screen. Here are some of my favorite Nora Ephron films and female leads: Silkwood Meryl Streep and Cher in a scene from Silkwood, directed by Mike Nichols.Įphron’s first foray into writing for the big screen (she had previously penned two TV movies) stayed close to her journalistic roots. She kicked off her film career with the true story of whistleblower Karen Silkwood, who exposed the dangerous conditions at the Oklahoma plutonium plant where she worked and who was later killed in a suspicious one-car accident on her way to meet with a reporter from The New York Times. “I try to write parts for women that are as complicated and interesting as women actually are.” The key to Ephron’s success was her understanding of the way women live now – our fears and insecurities about ourselves, who we love, and how they love us. Meg Ryan’s fake orgasm at the table in When Harry Met Sally alone on a budget of $22 million – and many of the moments she committed to celluloid remain cultural touchstones. Chick-flicks or not, Ephron made hits – Sleepless in Seattle grossed $126 million in the U.S. In an industry often dominated by men making movies for men, she created female leads that were smart, funny, and complex.Įphron is often credited with inventing the “chick-flick” genre, though Ephron reportedly was ambivalent about the term. These views translated to the female characters Ephron put on screen. Nora Ephron, the Queen of the modern rom-com, was also a life-long feminist. The comic hyperbole of Schumer's character's abjections, combined with her uncritical complicity, invokes for the viewer feminist solutions.(except for You’ve Got Mail – that’s totally a chick-flick) In short, the condition of postfeminism is one of abjection. But Schumer inverts this construction: in her show's sketches, postfeminism as an ideological formation materializes in an array of comic abjections to which Schumer's persona is subject. Postfeminism casts feminism as abject, as the "repulsive and disgusting" monster that perpetually endangers the "empowered" postfeminist woman of today. This essay analyzes how Schumer develops a feminist critique of the knotty problems of postfeminist ideology. It is precisely this ideological double bind that the comedian Amy Schumer confronts. In a corresponding mode, postfeminist cultural objects derive their power in part by preempting feminist critique with irony. Postfeminist ideology "takes feminism into account" by framing liberal feminist principles as already achieved, thus preempting a more radical feminist politics that it constructs as both unpleasant and irrelevant. Accordingly, I argue for the continuing importance of critical scholarship on postfeminism as an insight into the failures and pervasiveness of neoliberal politics. I argue that the turn to interiority is a product of the US cultural context, but also that this examination evidences the malleability and longevity of postfeminist ideology. I analyse this shift through a comparative analysis of the television shows Sex and the City, Girls and The Mindy Project. Drawing on the theoretical critiques of postfeminist retreatism and girlie femininity, this turn is characterised by a concern with interior spaces – reviving domesticity and the importance of finding and securing a home – as well as internalised consumption – replacing forms of material consumption with the quest for self-actualisation, particularly through eating and expressions of the authentic self. In this article, I discuss a postfeminist ‘turn to interiority’ which takes place in US postfeminist television from 2005 onwards.
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