These spaces also allow an audience to identify, take pleasure in or challenge certain meanings of femininity. Cupcakes, Pinterest, and Ladyporn offers a concise, engaged, and fascinating set of analyses on things feminine, female, and feminist in the context of popular media culture. The book is headed by a truly insightful introductory essay from Elana Levine and filled with consistently provocative and unique essays that artfully make the case for the many ways in which gender is central to the production, reception, and content of media.

Read all Winner of a SXSW Audience Award, LADYPORN follows the journey of two female students trying to produce a porno for women.Club 1848 Grand Oaks Farm 1860 Pioneer Cabin on the River 1883 Old Hwy 20, McDade TX 78650 1894 Private Pullman Palace Car 1903 S. Winner of a SXSW Audience Award, LADYPORN follows the journey of two female students trying to produce a porno for women. Most purchases from business sellers are protected by the Consumer Contract Regulations 2013 which give you the right to cancel the purchase within 14 days after the day you receive the item. Levine defines feminized popular culture as spaces, products, modes of expression, as well as now growing digital realms, marketed to and defined by a predominantly female audience.

If you do not have a society account or have forgotten your username or password, please contact your society. Congress 1202 Travis Heights 12th Night Austin 12th Street Baptist Church 12th Street Books 12th Street Soular Food Garden 12XU 1300 E 4th St.She is the author of Wallowing in Sex: The New Sexual Culture of 1970s American Television and co-author of Legitimating Television: Media Convergence and Cultural Status. The femininity of American popular culture unfortunately remains tied to a white cis-gendered and heteronormative set of traits, a fact that Levine acknowledges.

Elana Levine brings together writings from feminist critics that chart the current terrain of feminized pop cultural production. Chapters on Bethenny Frankel and the Kardashians address the obsession with self-branding and entrepreneurship as not just a mark of financial success, but of being a successful woman. This volume has much to engage with romance scholars who are interested in critical discussions of how current cultural industries cater to and inform female pleasure; not just in the chapters about erotica and chick lit, but the specific feminine world in which they are perceived to be situated. Levine has assembled a comprehensive set of smart, accessible, and interesting essays that truly capture 'feminized' popular culture in the early twenty-first century United States.Incisive and compelling, Cupcakes, Pinterest, and Ladyporn sheds new light on contemporary women's engagement with an array of media forms in the context of postfeminist culture and neoliberalism. or perhaps these traits are deemed disparaging because they are associated with an assumed femininity.

This functionality is provided solely for your convenience and is in no way intended to replace human translation. Mothers, Fathers, and the Pregnancy App Experience: Designing with Expectant Users in Mind / Barbara L. Elena Carr and Maggie Carey must struggle with amateur porn stars, an inexperienced crew, no budget, and a nervous leading man. Though often dismissed as frivolous or excessively emotional, feminized culture in reality offers compelling insights into the. Bodies” addresses the physical appearance, health and spirituality of female bodies as sites of labor and pleasure.Through its manifold critiques of digital media, cultural products, and gendered spaces, Cupcakes, Pinterest, and Ladyporn has the potential to reinvigorate contemporary scholarship in feminist media studies and bring "feminized cultures" back into focus. JAMS professor Elana Levine is scheduled to present on her new, edited book, Cupcakes, Pinterest, and Ladyporn: Feminized Popular Culture in the Early 21st Century at the Women’s and Gender Studies Brown Bag, Thursday, March 3, 2016, Noon to 1PM, CRT 535B. They are also criticized for engaging women in a “retrofemininity” (252), that evokes the traditional “housewife-bake sale” image (253).