Postfeminist Celebrity and Motherhood by Jorie Lagerwey

Author:Jorie Lagerwey [Lagerwey, Jorie]
Language: eng
Format: epub
Tags: Social Science, Women's Studies, Performing Arts, Television, General, Computers, Social Aspects
ISBN: 9781317265719
Google: UiwlDwAAQBAJ
Publisher: Taylor & Francis
Published: 2016-09-01T06:03:24+00:00

Notes

1. Jane Feuer, “‘Quality’ Reality and the Bravo Media Reality Series,” Camera Obscura 30.1 (2015): 185−95. See also Katherine Sender, “Dualcasting: Bravo’s Gay Programming and the Quest for Women Audiences,” Cable Visions: Television Beyond Broadcasting, Sarah Banet-Weiser, Cynthia Chris, Anthony Freitas, eds. (New York: New York University Press, 2007), 302−18; Erin Copple Smith, “‘Affluencers’ by Bravo: Defining an Audience Through Cross-Promotion,” Popular Communication 10(4) 2012: 286−301; Pier Dominguez, “‘I’m Very Rich, Bitch!’: The Melodramatic Money Shot and the Excess of Racialized Gendered Affect in the Real Housewives Docusoaps,” Camera Obscura 88, 30.1 (2015): 155−83; Kristen J. Warner, “‘They Gon’ Think You Loud Regardless: Ratchetness, Reality Television, and Black Womanhood,” Camera Obscura 88, 30.1 (2015): 129−53; and Julia Himberg, in press.

2. Katherine Sender, “Dualcasting: Bravo’s Gay Programming and the Quest for Women Audiences,” Cable Visions: Television Beyond Broadcasting, eds. Sarah Banet-Weiser, Cynthia Chris, Anthony Freitas, (New York: New York University Press, 2007), 313.

3. Million Dollar Listing follows the professional and personal lives of high end real estate brokers. It is an opportunity to ogle ostentatiously expensive homes in New York, Los Angeles, and Miami, with some personal drama between competing realtors thrown in. Vanderpump Rules, a spin-off of The Real Housewives of Beverly Hills features the relationship dramas of the young, beautiful, sexually active staff at Housewife Lisa Vanderpump’s West Hollywood restaurant Sur.

4. See Amanda Ann Klein, “The Hills, Jersey Shore, and the Aesthetics of Class,” Flow TV 13.12. Available online at http://flowtv.org/2011/04/the-hills-jersey-shore-and-the-aesthetics-of-class/ (accessed January 21, 2016).

5. Emma Rosenblum, “The Natural: How Andy Cohen Became Bravo’s Face,” New York Magazine, January 8, 2010 (accessed May 29, 2013).

6. See Tania Modeleski, “The Search for Tomorrow in Today’s Soap Opera,” in Feminist Television Criticism, Charlotte Brunsdon, Julie D’Acci, and Lynn Spigel, eds. (Oxford: Oxford University Press, 1997), 36−47.

7. Stuart Hall, “Encoding, Decoding,” in The Cultural Studies Reader, ed. Simon During, (London: Routledge, 1993), 90−103.

8. Quoted in John Fiske, Television Culture, (New York: Routledge, 1989), 192.

9. Racquel Gates, “Activating the Negative Image,” Television and New Media 16.7 (2015): 616−30; Kristen J. Warner, “‘They Gon’ Think You Loud Regardless: Ratchetness, Reality Television, And Black Womanhood,” Camera Obscura 88, 30.1 (2015): 129−53.

10. Available online at www.Affluencers.com, Bravo’s ad sales website (accessed May 29, 2013). For a discussion of affluencers, see Erin Copple Smith, “‘Affluencers’ by Bravo: Defining an Audience Through Cross-Promotion,” Popular Communication 10.4 (2012): 286–301.

11. Diane Negra, “Quality Postfeminism?: Sex and the Single Girl on HBO,” Genders 39 (2004). Available online at www.iiav.nl/ezines/IAV_606661/IAV_606661_2010_52/g39_negra.html (accessed January 31, 2016).

12. Smith cites stars like Patti Stanger of Millionaire Matchmaker, Gail Simmons, a judge on Top Chef, as well as the Housewives as on air talent who embody the upscale, well-educated, trend-influencing target Bravo acolyte. Erin Copple Smith, “‘Affluencers’ by Bravo: Defining an Audience Through Cross-Promotion,” Popular Communication: The International Journal of Media and Culture 10(4) 2012: 286−301.

13. See Suzanne Leonard and Diane Negra, “After Ever After: Bethenny Frankel, Self-Branding, and the ‘New Intimacy of Work,’” in Cupcakes, Pinterest, and Ladyporn: Feminized Popular Culture in the Early Twenty-First Century, ed.

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