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Female Subjectivity in Selected Women-Centric Television Drama Serials.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Female Subjectivity in Selected Women-Centric Television Drama Serials./
作者:	de Kock, Laurika.
面頁冊數:	1 online resource (166 pages)
附註:	Source: Masters Abstracts International, Volume: 85-08.
Contained By:	Masters Abstracts International85-08.
標題:	Womens studies. -
電子資源:	click for full text (PQDT)
ISBN:	9798381458350

Female Subjectivity in Selected Women-Centric Television Drama Serials.
de Kock, Laurika.

Female Subjectivity in Selected Women-Centric Television Drama Serials. - 1 online resource (166 pages)

Source: Masters Abstracts International, Volume: 85-08.

Thesis (M.A.)--University of Pretoria (South Africa), 2023.

Includes bibliographical references

Since 2010, there has been a proliferation of women-centric television series and serials due to substantial socio-political and -economic changes as well a changing television landscape, often referred to as "Peak TV". Women-centric television series or serials are described as women's stories told from a female point of view (POV) (and employing a female gaze), dealing primarily with the female experience. This critical shift facilitated the construction of (compelling) female or difficult women characters (Pinedo 2021). These characters are described as heroic or anti-heroic, independent and empowered, or morally ambiguous.This study provides an interpretive framework to analyse the construction of female subjectivity in both an international and a local popular long form television drama serial. Two women-centric television drama serials are the object of inquiry: HBO's Big Little Lies (Kelly 2017a) and Showmax and kykNET's Waterfront (Kruger & Swanepoel 2017a). The interpretative framework is based on Smith's (1995) practices of recognition, alignment and allegiancecombined with socio-political and -economic frameworks such as post-feminism, neoliberalism and fourth-wave feminism.The analysis finds that Big Little Lies(Kelly 2017a) constructed female subjectivity in a nuanced and complex manner: while it initially constructed female subjectivities as portraying 'traditional' gender stereotypes, the series deconstructed prevailing notions of 'the natural nurturer', 'mother' and 'housewife'.Second, I analysed the female protagonists in the Afrikaans-language Waterfront (Kruger & Swanepoel 2017a). Drawing on Van der Westhuizen's (2017) notion of post-feminist, neoliberal Afrikaner ordentlikheid (respectability), the study finds that female subjectivities in this series are autonomous and complex. However, it was found that the serial narrative did not employ a female gaze; it did not focus on woman- or sisterhood, or female empowerment; and it did not articulate or engage with contemporary popular feminisms. Consequently, Waterfront does not promote a feminist sensibility. In Waterfront, white Afrikaans female subjectivities, specifically, still conform to an Afrikaner notion of ordentlikheid(respectability).

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798381458350Subjects--Topical Terms:

1372829
Womens studies.
Index Terms--Genre/Form:

554714
Electronic books.

Female Subjectivity in Selected Women-Centric Television Drama Serials.
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