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Sex and the City and Consumer Culture: Remediating Postfeminist Drama - Book Report/Review Example

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In the article, Jane Arthurs examines the positive implications shows such as Sex and City have had on the post-feminist movement in media. …
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Sex and the City and Consumer Culture: Remediating Postfeminist Drama
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"Sex and the City and Consumer Culture: Remediating Postfeminist Drama"

Download file to see previous pages Arthurs presents a novel approach to the depiction of diverse attributes of women, for instance, their sexuality, in contemporary media. The author demonstrates how Sex and the City is the epitome of the integration of postfeminist culture into present day’s media. Arthurs’ (83) shows major comparisons to Sex and the City to former instances of woman-focused drama produced in the postfeminist era within the US. However, the author notes that unlike Sex and the City, other dramas televised in the wake of the second wave of the feminist movement do not entirely incorporate feminist discourses in reaction to shifts in the cultural environment in the lives of the dramas’ viewers. Arthurs demonstrates how in previous postfeminist dramas, such as LA Law, and Cagney and Lacey, the roles of women were most confined to private and personal relationships while men were afforded roles that demonstrated their masculinity to the public world of work. Prior to the emergence of Sex and the City, drama shows attributable to the feminist era were known to respond to shifts n the socio-political context by allowing for the examination of liberal feminist issues that arose from the relations women had with work and law. Therefore, Sex and the City has managed to revolutionise the way media tackles women studies and the depiction of female roles in the socio-political milieu. For instance, the drama (Sex and the City) manages to bring to light the new ideology of media studies whereby the focus on women shifts to the role of protagonists who are capable of influencing the narrative through their actions. As a consequence, Sex and the City has paved the way for the replacement of marginal and confined range of roles previously bestowed on female characters in dramas. Ultimately, Arthurs (84) poises that while Sex and the City and other drama shows share characteristics such as integration of feminist themes, as well as other focus on the white, liberal and heterosexual woman, Sex and the City is markedly distinct from other dramas. These distinctions can be attributed to the institutional situation that characterised the production and distribution of Sex and the City. This is primarily since the production Sex and the City was focused on the development of a drama for subscription cable television rather than prime-time network television. Arthurs further views Sex and the City as a notable progression from the characteristic focus on work that postfeminist television has in the 1980s and 1990s. In contrast, Sex and the City does not play primary attention to the roles of women within the work environment. However, Sex and the City also typifies women’s financial independence, which is a major hallmark of postfeminism. In Sex and the City, most of the leading female characters are typified as inherently independent. In fact, their work is reduced into another element of their self-expression. This is a major divergence from the conventional postfeminist drama, which mostly portrays women as having the primary desire to get married and start a family. Arthurs identifies Miranda as the only woman in Sex and the City who perceives a distinct divergence between her professional success as an attorney and her life as an independent woman. Miranda is the only woman in ...Download file to see next pagesRead More
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