Second Wave Feminism

L'elaborato presenta il dibattito interno al femminismo di seconda ondata riguardante il sesso e l'uso (o abuso) del corpo femminile. Il pensiero pro-sex e quello anti-sex si scontrano, dando vita a un accesa discussione portata avanti attraverso saggi di notevole portata culturale.

This book examines the post-1960s era of popular music in the Anglo-Black Atlantic through the prism of historical theory and methods. By using a series of case studies, this book mobilizes historical theory and methods to underline different expressions of alternative music functioning within a mainstream musical industry. Each chapter highlights a particular theory or method while simultaneously weaving it through a genre of music expressing a notion of alternativity―an explicit positioning of one’s expression outside and counter to the mainstream. Historical Theory and Methods through Popular Music seeks to fill a gap in current scholarship by offering a collection written specifically for the pedagogical and theoretical needs of those interested in the topic.

“This study of ‘insurgent’ modes of popular music in the last third of the 20th century accomplishes quite a feat.  It yokes together a wide swath of sub-genres and styles--including reggae, punk, hip hop, alternative rock and country—through the lens of what the authors are calling “historical theory,” in order to chart a different, more comprehensive pathway through the annals of pop music history.  Shonk and McClure achieve an enviable balance of accessibility and scholarly depth, making this volume ideal for introductory college courses as well as more experienced researchers seeking a quick guide to specialized topics.”

--Pamela Fox, author of Natural Acts: Gender, Race, and Rusticity in Country Music; co-author of Old Roots, New Routes: The Cultural Politics of Alt.Country Music

Second wave feminists used a particular form of memoir – personal testimony – in the then new political practice of consciousness-raising. Now, contemporary scholars have argued the recent practice of mothers writing about their lives online and in print are the inheritors of the consciousness-raising tradition. Using two first-person accounts by contemporary Australian journalists and feminists (Pryor 2014, Freedman 2015) of juggling work, study and motherhood through consuming anti-depressant and anti-anxiety medication, this chapter examines how these newer forms of memoir/consciousness-raising represent both a continuity with, and a break from, earlier forms of the practice. These contemporary stories still provide readers with consolation and relief; but where personal stories were once used to interrogate problems in women’s social worlds (Friedan, 1963, Summers 1975), the contemporary feminists’ stories discussed here emphasise individual choice, adaptation and personal transformation (including a medical transformation at a fundamental level of self). The use of memoir by these contemporary writers is also considered in the context of a new version of celebrity feminism, one where the author’s life story is now foregrounded. Finally, this chapter argues that the personal story, once harnessed by second wavers to build a movement, is now recruited by contemporary feminists to build a personal brand.

In the United States during the 1960s and 1970s, appeals to authenticity were deployed across the political spectrum. Taken together, these notions offered competing and often contradictory accounts of what authenticity entailed, where it resided, and who could be authentic. Despite how ideologically diverse and protean these claims were, many activists chose to hold onto the term rather than jettison it. They contested popular accounts of who and what was authentic and deployed the term for their own purposes. In doing so, they were able to advance a variety of political causes. By analyzing four texts associated with movement politics of the time, this article shows how authenticity appeals could help marginalized groups to contest oppressive stereotypes, animate resistant practices of truth telling, and provide alternative accounts of justice, freedom, equality, and solidarity. In this article, I first show that the political potential of such appeals can be detached from the purported truth of their ontological claims, and second, that while it is possible to deploy authenticity strategi-cally—that is, without really believing that an inner self exists—such a deployment may eclipse some of the more potent discursive effects offered by such appeals.

In this co-authored piece, we examine the uses and applicability of feminist consciousness-raising to the making of contemporary online feminisms. In doing so, we are specifically interested in how, both historically and in the present, feminisms have been invested in a confessional politics, one that confesses to the feminist community, be it at a small meeting or online to an unknown number of participants. As a particular incarnation of confessionality, certain aspects of consciousness-raising continue to exist today in online feminist engagements. Looking at feminist media such xoJane (2011–16) and Jezebel (launched 2007), we explore the contemporary inheritances of the consciousness-raising technology, with an eye to thinking about how it produces particularly sexed, racialized, and sexual subjects.

Germaine Greer is a feminist iconoclast frequently misread, misunderstood and maligned. Her most recent book On Rape was unanimously panned in media reviews by feminists. This article argues that contemporary feminist readings of On Rape—and of Greer more broadly—fail to grasp the book as part of Greer’s oeuvre. Greer is making two related arguments in On Rape, both of which have been overlooked or underplayed in media reviews. The first concerns what she calls “everyday rape” or the unwanted, sometimes forced, sex that women routinely experience, and occasionally consent to, in long-term heterosexual relationships; the second concerns women’s loss of sexual pleasure associated with this. Against the prevailing view that Greer has transmogrified into a “rape apologist,” I read the book as part of an ongoing conversation that Greer has been having with the culture—and herself—for fifty years. Greer has not changed her position, rather she is looking at another angle of her long-standing argument that the sexually autonomous woman has the right to determine her own boundaries and experience and, moreover, that unwanted or “bad sex” is emotionally and spiritually destructive. I make the point that Greer hasn’t changed, feminism has. I then return to the reception of the book and consider what distinguishes Greer’s style and politics identifying her left libertarian 60s radicalism as anathema to contemporary progressive politics.

This book undertakes the first large-scale analysis of women’s agency in Frank Herbert’s six-book science fiction Dune series. Kara Kennedy explores how female characters in the Bene Gesserit Sisterhood—from Jessica to Darwi Odrade—secure control and influence through five avenues of embodied agency: mind-body synergy, reproduction and motherhood, voices, education and memory, and sexuality. She also discusses constraints on their agency, tensions between individual and collective action, and comparisons with other characters including the Mentats, Bene Tleilaxu, and Honored Matres. The book engages with second-wave feminist theories and historical issues to highlight how the series anticipated and paralleled developments in the women’s liberation movement. In this context, it addresses issues regarding sexual difference and solidarity, as well as women’s demand to have control over their bodies. Kennedy concludes that the series should be acknowledged as a significant contribution to the genre as part of both New Wave and feminist science fiction.

This thesis examines the female gaze in conjunction with fashion photography. It incorporates a multidisciplinary theoretical framework, embracing feminist and psychoanalytical discourse and semiotics. 'In Search of the Female Gaze: Women as Practitioners of Fashion Photography' uses the imagery of photographers Helmut Newton, Miles Aldridge, Deborah Turbeville, Corinne Day and Maisie Cousins as case studies in order to investigate the nuances between the way men and women look at and photograph women.

The aim of this paper is to explore the underlying meanings behind traditional representations of women in the fashion photography milieu and to evidence how fashion photography mirrors culture, thus carrying symbolic value and ideological codes. Additionally, through a descriptive approach, it intends to showcase fashion photography as a vehicle to debate gender and sexuality within patriarchy. A central idea of this paper is to emphasise that femininity is a social construct and to present the manner in which the female gaze eschews its conventional stereotypes.

As a foundation to my argument, I draw a parallel between the depictions of women in film studies and in art history, taking in consideration the discursive fabric of theorists such as Laura Mulvey, John Berger, Mary Ann Doane, Linda Nochlin, Rosalind Gill and Rosemary Betterton. French feminists Luce Irigaray and Hélène Cixous are also of great influence in this thesis, as well as Sigmund Freud and Jacques Lacan. By engaging critically with the representation of the female body and how meanings are mediated between producers and viewers, 'In Search of the Female Gaze: Women as Practitioners of Fashion' Photography. An Analysis of the Politics of Representation promotes a discussion of fashion iconography within gender and media research.

hroughout her career, Joni Mitchell claims to have struggled against gender stereotypes. This dissertation examines the changes in Mitchell’s gender identity as a means of escaping typecasts, with specific reference to her albums The Hissing of Summer Lawns (1975) and Hejira (1976), which have been largely neglected in previous gender studies of Mitchell. It also examines how the critical and popular reception of these two albums has been affected by gender stereotypes.

SCUM Manifesto is revisited here as a satire - its feminist rage viewed as self-conscious and tightly controlled verbal performance which mimics the misogyny of texts such as Otto Weininger’s 'Sex and Character', or the macho novels of Mailer, Hemingway and Miller. The article then examines the ambivalence of  feminism’s public image in the late 1960s and early 70s (as well as its self-image) through the lens of various reactions to Solanas.

This article examines Urszula Czartoryska’s critical review titled “Wyczekiwanie...” [“Looking forward...”], which provides commentary to two art exhibitions: “Młodzi malarze Krakowa” [“Young painters from Kraków”], organized in Kraków’s Pałac Sztuki [Palace of Arts] in April 1965, and “Ogólnopolska Wystawa Młodego Malarstwa” [“All-Polish Exhibition of New Painting”], which opened one month later in Sopot. Both exhibitions served for her as a point of departure for writing an article commenting on the current situation in Polish painting. According to Czartoryska, it leaned too heavily on colourism and abstraction. This would lead to a serious crisis in painting, which manifested in the artists’ growing distance towards figurative art and socio-political subjects. This distancing tendency would be rooted in the fresh memory of the socialrealist trauma, which effectively precluded any engagement with figurative art otherwise than by falling in line with the policy of the communist party. Among the critics reviewing the two exhibitions, Urszula Czartoryska was the only one to propose returning to the kind of figurative art that would tackle subjects beyond art itself. It soon turned out that the article “Wyczekiwanie...” successfully acted as a rejoinder to these shows, actually influencing the later decisions of individual artists. One year after its publishing, five artists from Kraków, who participated in the exhibition “Młodzi malarze Krakowa” – Maciej Bieniasz, Zbylut Grzywacz, Barbara Skąpska, Leszek Sobocki and Jacek Waltoś – founded the group “Wprost” [“Directly”], which set as its goal to comment on the “here and now” by employing a figurative language that would be accessible – as the artists argued – to the average recipient.
In this paper, the review “Wyczekiwanie...” is juxtaposed with Czartoryska’s 1974 book Od pop-artu do sztuki konceptualnej [From pop art to conceptualism], in which she broadly discusses selected trends that emerged in Western art in the late 1950s. In the last chapter, titled “Artysta zaangażowany” [“Engaged artist”], she acknowledges the dissent that swelled among French and American artists at the turn of the 1960s and 1970s, who would rebel against the structures of capitalist power. In this context, one could also ask to what extent her commentary could be an allusion to the political and artistic situation in Poland at the time. Numerous protests were held then, while some of Leszek Sobocki’s works criticizing the communist authorities were removed from exhibitions by the censorship. It seems that Czartoryska was describing the dissenting attitude of Western artists in order to emphasize the lack of such an approach in Polish art. This was particularly visible at the time when the dramatic events of March 1968 and December 1970 demanded in vain to be expressed in art. Naturally, the author was perfectly aware of the censorship, but she also might have wanted to draw attention to this issue and try to address it in a way that would be possible under totalitarian rule.

Segundo a teórica feminista Teresa de Lauretis, o cinema se enquadra enquanto uma tecnologia do gênero, ou seja, uma técnica e estratégia discursiva pela qual as relações de gênero são construídas e operadas. Nota-se, portanto, que não se trata unicamente de entretenimento, possuindo também cunho ideológico e associando-se à questões de subjetividade e identidade. Nos Estados Unidos, a partir da década de 1970 se tornaram cada vez mais populares as representações cinematográficas em que mulheres independentes eram brutalmente humilhadas, estupradas e/ou assassinadas. Tais representações, que não eram aleatórias, demonstravam características conservadoras em relação à sexualidade e libertação femininas, dialogando com o contexto de sua produção e recepção, marcado por guerras culturais. Partindo de tais questões, o objetivo desta comunicação é analisar o filme À Procura de Mr. Goodbar, adaptação da obra literária homônima de Judith Rossner e lançado em 1977, problematizando suas representações de gênero e sexualidade. Nosso propósito é compreender como o cinema produziu e direcionou, ao público feminino, um discurso extremamente moralista e violento. De tal forma, pretende-se ressaltar a importância de contextualizar o filme com sua época e lugar de circulação, os Estados Unidos da década de 1970, palco do fortalecimento de um movimento conservador em relação à emancipação sexual feminina defendida e vivenciada pela contracultura e pelo feminismo dos anos 1960.

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Patriarchy is a cardinal concept of the radical second-wave
feminists, who define it as "a system of social structures, and
practices in which men dominate, oppress and exploit
women." This use of the concept of patriarchy
has enabled the development of some of the most significant
feminist ideas and programs worldwide; at the same
time, the concept has been criticized, modified, and in many
cases abandoned.

This thesis uncovers and analyses the relationship between forms of talk on British television between 1970-1990, and the uneven transformations in gender politics that occurred in this period, which encompasses both the second wave feminist movement and the rise of neoliberal politics. It presents five historical case studies of talk-based television programmes from across this time period: No Man’s Land (Associated Television/ITV, 1973), Good Afternoon! (Thames Television/ITV, 1971-1984), Pictures of Women: Sexuality (Channel 4, 1984), Watch the Woman (Channel 4, 1985), and Question Time (BBC One, 1979-present). These case studies offer a deliberate selection of television texts that differ according to their institutional contexts; their position in the schedules; their status in existing broadcasting histories; their discursive arrangements; and their modes of address. The thesis seeks to consider how the communicative ethos of television talk has been gendered in three key ways: at the level of production - in the sense of when, how, and why television spaces have been opened up for gendered forms of talk in relationship to wider shifts in gender politics; at the level of the text - in terms of how the discursive arrangements of talk-based programmes have worked to include, exclude, legitimise or disavow women’s voices; and at the level of critical reception - in the sense of how television talk has been evaluated in profoundly gendered terms. The thesis is methodologically innovative because it theorises gendered forms of television talk in relationship to histories of television production, as well as to broader political, cultural and gender histories. It carries out important empirical ‘recovery work’ of hidden women’s television histories through the presentation of original archival research. It also presents theoretical work, which re-evaluates the distinctive communicative ethos of television – or its “sociability” in light of feminist theories of language, gender and power. Moreover, it sheds some historical light on why the institutional parameters of television still delimit the available spaces for women's speech.

Antique wind spirit turned Adam’s first wife, Lilith, holds the fascination of both contemporary academia and popular culture. Namely, feminist scholarship and interpretations of the Lilith myth arguably construct the dominant academic and pedestrian understandings of the demoness, presenting her as a rebellious, patriarchy-smashing femme. However, scholarship on Lilith thus far has primarily positioned her within a heteronormative framework. As a result, more complex and nuanced inquiries into Lilith’s mythic and discursive history have been overshadowed. The lacuna my study aims to expose and address is the overlooked queer currents and connections within artistic, literary, political, and sociocultural discourses regarding the demoness. My research identifies four significant historical associations between Lilith and queerness within twentieth-century discourses. Through the application of both queer theory and monster theory, my research establishes Lilith as a discursive embodiment of the trope of the ‘monstrous-queer’. Ultimately, this study endeavors to spark a preliminary investigation into historic associations between Lilith and queerness. In doing so, a more comprehensive understanding of the figure of Lilith is presented.

Debates about commercial sex occupy a prominent place on the agenda of both global and Russian-language feminist communities. Sex wars have a major impact on the organization and political imagination of the feminist movement. On the other hand, some sex workers and their representatives consider some feminists (neo-abolitionists) to be one of the biggest enemies in the struggle for their rights. Trying to understand this contradiction, the article raises issue on how neo-abolitionist discourse is designed and what political impact it produces. The author proceeds under the assumption that the neo-abolitionist discourse about commercial sex is a way to cope with the two fundamental anxieties of the feminist movement: the anxiety of foundation and the anxiety of translation. This hypothesis is tested through an analysis of Russian and English-language feminist texts on commercial sex, as well as through analysis of existing research literature. The author comes to the conclusion that the construction of sex work as a homogeneous situation of patriarchal violence against women allows it to be used as a metaphor. One of its effects is the legitimation of universalist and essentialist constructions of radical feminism/neo-abolitionism. At the same time, this discourse excludes the voices of women engaged in sex work and reduces the diversity and heterogeneity of their experience. As a result, neo-abolitionism becomes problematic if we consider feminism an inclusive and emancipatory project. In conclusion, the author calls for the formation of a more inclusive and polyphonic version of feminism towards people engaged in commercial sex.

This paper examines the relationship between women an d men and how the women had to live, behave and react in 1960s America in the short story “I Stand Here Ironing” (1961) by the twentieth-century American author, Tillie Olsen (1912-2007). The story revolves around the protagonist, ‘mother’, and her daughter, Emily, where the women are depicted as confined within constrained identities, having to live in a world where they have to be obedient and having to live up to men’s expectation. With the pressure enforced by the expectations of the patriarchal society and the idea of ‘feminine mystique’, the women seem to be devoid of any romantic feelings. Based on a textual analysis as our methodology, our study focuses on women’s position in the second wave feminism period by using the feminist concept of the feminine mystique, as the conceptual framework, as outlined by Betty Friedan in her book, The Feminine Mystique (1963). Our findings demonstrate that the reasons behind the female protagonist’s barren emotions for men are because of her sense of obligations on completing the domestic demands, the expectations set by the patriarchal society and because of the judgemental eyes of the men in the patriarchal society in general.

Mary Leapor, Mary Scott, Joanna Southcott, Lucy Aikin, and their peers collectively articulate what I call women's “superior secondariness.” To counter an eighteenth-century culture that represented man as “primary” (universal and originary) and woman as “secondary” (derivative and dependent), these poets posited the secondary not as inferior or less, but as a necessary, often highly desirable, condition of women's belatedness. Advocating revision and renaming, these writers developed a distinctive feminist poetics of improvement in order to express women's ascendency as the sex that comes second in time, whether as a refined Eve in relation to a rudimentary Adam, or as the revisionary woman poet in relation to the originary masculine classic author. Taken together, their rewritings of Original Sin, human origins, English poetry, and Britain's progress transformed the discourse of secondariness, often used to deride women's verse as inferior in the period, into a feminist position of power. In tracing the ordering function of superior secondariness from 1751 to 1810, the present essay returns to Enlightenment literary form to understand poetry's vital role in inaugurating the feminist projects of historicizing the associations between women writers and theorizing the gender of aesthetic production.

This article aims to reassemble a feminist genealogy of the posthuman in the arts, with a specific focus on the visual works conceived by female artists after the rise of what has been retrospectively defined as first-wave Feminism. Starting with the main avant-garde movements of the first half of the twentieth century—specifically, Futurism, Dadaism and Surrealism—this genealogy analyses the second-wave Feminism of the 1960s and 1970s, with its integral exploration of the body highlighted by performance art. Following this, it takes into account the third-wave Feminism of the 1990s and its radical re-elaboration of the self: from Cyberfeminism and its revisitation of technology, to the artistic insights offered, on the one side, by critical techno-orientalist readings of the futures, and on the other, by the political and social articulations of Afrofuturism and Chicanafuturism. Lastly, this genealogy accesses the ways contemporary female artists are dealing with gender, social media and the notion of embodiment, touching upon elements that will become of key importance in fourth-wave Feminism.

This paper tries to analyze the poem The Maggots by Kamala Das from Second-Wave Feminist and Russian Formalism perspective. The formalist analysis of the poem takes a deeper look at the linguistic features (phonological, grammatical, syntactic, and graphological) and poetic devices used in the poem. The study investigates the foregrounding process utilized in the poem that upholds the literariness of the piece and at the same time performs the thematic function. The feminist reading of the poem is socially more responsible and relevant.  In a male-dominated culture, The Maggots reflects Das’ restlessness as a sensitive woman. She lifts her vigorous voice against the tyranny of men and appears as an outspoken advocate for the emancipation of women. Radha is the alter self of Kamala Das in ‘The Maggots.’ She has a growing sense of revolt in her heart. Kamala Das has a deep urge to be released from male-dominated society's clutches.

This essay argues that Mitchell Lichtenstein’s film Teeth (2007) is an exemplary appropriation of the femme castratrice, a sadistic and castrating female figure that subverts the patriarchal mythologies undergirding the gendered logics of both screen violence and cultural misogyny. The film chronicles Dawn’s post–sexual assault transformation from a passive defender of women’s purity to an avenging heroine with castrating genitals. First, I illustrate how Teeth intervenes in the gendered politics of spectatorship by cultivating identification with a violent heroine who refuses to abide by the stable binary between masculine violence/feminized victimhood. This subversive iteration of rape-revenge cinema is assisted by the filmmaker’s introduction of camp, a playful and self-conscious cinematic style that renders transparent the fantasies guiding the cinematic construction of violence and the male gaze. Second, I argue that this revision of the rape-revenge genre equips audiences with important symbolic resources for feminist critiques of cultural misogyny. Teeth’s avenging heroine updates the sexual politics of second-wave feminism to resist recent political efforts to regulate women’s bodies.

GİRİŞ Toplumun icadıyla beraber insanlar kendi aralarında hiyerarşiye dayanan bir formda yaşamaya mahkûm kalmışlardır. Bu yüzden toplum formu toplum öncesi formlardan farklı olarak yönetim olgusunun zorunluluğuna dayanır. Yönetim hiyerarşi, işbölümü ve otorite kavramlarının sistematik bütünüdür. Yönetimle beraber daha önceden topluluk halinde bir bütün olarak yaşayan insanlar bu evrede parçalı bütün olarak karşımıza çıkar. Toplum iş paylaşımı yerine iş bölüşümü yaptığı için işleri bölüştürecek otoriteyi kendinden çıkartır. Bu düzen günümüze kadar insanların kendi aralarında farklılaşmasına sebep olacak en küçük yapı taşıdır. Ancak temelde kadın-erkek dikotomosinin yaratılması buradadır. Bunu kavramak 20. yüzyılın ortalarında sert bir şekilde sistem eleştirisi yapan radikal feministlerin düzene karşı neden yapı-söküm hareketi yaptıklarını anlamayı kolaylaştırır. Feminizm, gerek kelimenin etimolojik anlamında gerekse savunucularının yoğun bir şekilde kadın olmasından kaynaklı olarak kadın hakları savunusu yapan bir hareket olarak görülmüştür. Bu yargı feminizmine ancak dar bir anlam verdiğimiz zaman doğru olabilir. Zira feminizm sistem eleştirisi yapan hareketlerin yanına kolaylıkla yerleştirilir. Bazı feminizm dallarında ve/veya hareketlerinde sistem kadın temel alınarak eleştirilmiş olunabilir. Fakat yukarıda da belirtiğim gibi kadın-erkek ayrımıyla sitemin kuruluşu aynı zamansal ve olgusal şeye denk gelmektedir. Yani sistem sadece kadın üzerinden eleştirilse bile varoluşsal sebeplerinden dolayı sistemin bütününe karşı bir mücadele verilmiş olunacaktır. (Hatırlatmakta yarar var bu ifadeler feminizmin minimal düzeyde kısıtlı bir alan varsayımı yapan hareketleri için geçerli değildir.) Bu çalışmada radikal feminizm kurulan sisteme karşı yaptığı hareketin bağlamını araştırmaya çalışacağım. 20. yüzyılın ortalarında var olan sistemin kadın merkezli arkaik köklerine ve zamanın o noktasındaki sistemin kendisine bakarak bu çalışmayı sürdürmeyi düşünüyorum. Bunun için bazı kavram ve kategorileri açıklamakla başlamak en doğrusu olacaktır. Yukarıdaki paragrafta topluluk formundan toplum formuna geçiş sırasında ortaya çıkan bulgulardan birisi için kadın-erkek dikotomosini kullanmıştım. Bu bulguyu siyasal bir terim olan özel alan-kamusal alan ikilisiyle siyasal ve sosyal alanda yaşanan kopuş ve sürekliliğin kendini nasıl var ettiğine dair bir inceleme yapmak için kullanacağım. Çalışmanın bölümlerinde ayrıntılı bir şekilde anlatılacak bu terimler için giriş yapmak gerekirse, siyasal ve sosyal olanın birbirlerini ötekileştirerek kamusal alan ve özel alan arasında geçirgen olmayan bir çizgi çizdiğini bilmek gerekir. Çalışmanın adında da yer alan ''özel olan politiktir'' sloganı bu çizgiyi ortadan kaldırmaya, tahrip etmeye yönelik bütünsel bir açıklamadır. Bu yüzden belirttiğim gibi feminizm bir sistem eleştirisidir. Ayrıca, kurulan kamusal alanın erkek benliği üzerinden tasarlanması özel alanın ise erkek hukuku ile işlemesi sistemin erkek egemen unsurlarla var olduğunu belirteyim.

By the 1970s, America was saturated with sex. A decade of sexual liberation and the commercialisation of women in mainstream media had normalized female subordination by reinforcing gender stereotypes and fostering an epidemic of male sexual violence. However, despite the best efforts of radical visionaries, the anti-pornography campaign has been relegated to the footnotes of feminist history for failing the very women it sought to protect.
In this paper, the author analyses the demise of the anti-pornography movement in its latter years, isolating the socio-political factors that led to a deep divide in the Second Wave and focusing on the impact of the Anti-Pornography Civil Ordinance, its subsequent failure and the rise of sex-positivism in contemporary feminism.

Filming Feminist Frontiers/Frontier Feminisms is a transnational qualitative study that examines ten landmark feature films directed by women that re-imagined the frontiers of Canada, Australia, New Zealand, and the U.S through a feminist lens. As feminist feature films they countered Eurocentric and masculinist myths of white settlement and expansionism in the grand narrative tradition.  Produced between 1979 and 1993, these films reflect many of the key debates that animated feminist scholarship between 1970 and 1990.  Frontier spaces are re-imagined as places where feminist identities can be forged outside white settler patriarchal constructs, debunking frontier myths embedded in frontier historiography and the Western. A central way these filmmakers debunked frontier myths was to push the boundaries of what constitutes a frontier.  Despite their common aim to demystify dominant frontier myths, these films do not collectively form a coherent or monolithic feminist revisionist frontier.  Instead, this body of work reflects and is marked by difference, although not in regard to nation or time periods.  Rather the differences that emerge across this body of work reflect the differences within feminism itself.  As a means of understanding these differences, this study examines these films through four central themes that were at the centre of feminist debates during the 1970s, 80s, and 90s. These are: female authorship, motherhood and the maternal, paid labour and the economy, and sexuality.  The study examines whether these women’s frontier films were successful at pushing the feminist agenda forward.  In order to answer this question, this study uses an interdisciplinary method of analysis deploying feminist theory, feminist historiography, frontier historiography, film theory, and genre theory. The films in this study are: Gillian Armstrong’s My Brilliant Career (1979), Tracey Moffatt’s Bedevil (1993), Sandy Wilson’s My American Cousin (1985), Anne Wheeler’s Loyalties (1986), Norma Bailey’s The Wake (1986), Merata Mita’s Mauri (1988), Jane Campion’s The Piano (1993), Julie Dash’s Daughters of the Dust (1991), Nancy Kelly’s Thousand Pieces of Gold (1991), and Maggie Greenwald’s The Ballad of Little Jo (1993).

In this article, I revisit the Wages for Housework (WfH) perspective and movement in order to recover Marxist-feminist analyses of social reproduction. Social reproduction remains an important site of contestation, especially as women continue to bear the brunt of an increasingly neo-liberalized economy. WfH's nuanced view of wages and housework, I argue, should be reconsidered as a point of departure in responding to new forms of oppression in a reorganized economy.

Résumé:
Dans cet article, je revisite la perspective et le mouvement « salaire au travail ménager » afin de retrouver les analyses marxistes féministes de la reproduction sociale. La reproduction sociale demeure un champ important de contestation, d'autant que les femmes continuent à faire les frais d'une économie de plus en plus néo-libérale. La vision nuancée du mouvement « salaire au travail ménager » au sujet des salaires et des tâches ménagères, devrait à mon avis être reconsidérée comme point de départ pour répondre aux nouvelles formes d'oppression dans une économie réorganisée.

This article explores the history of Good Afternoon!, a British daytime magazine programme produced by Thames Television between 1971 and 1988. Focusing on its emergence in the 1970s, I consider the ambivalent ways in which it was figured as a programme for women, and the instability of this category in the discursive context of second-wave feminism. Drawing on archival material in the form of programme texts, publicity material, listings guides and media reviews, I also explore the ways in which the progamme's status as an afternoon programme was inscribed with gendered assumptions about class, taste, and labour.