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From Mean Girl to BFF, Girlfriends and Postfeminist Sisterhood explores female sociality in postfeminist popular culture. Focusing on a range of media forms, Alison Winch reveals how women are increasingly encouraged to strategically bond by controlling each other's body image through 'the girlfriend gaze'.

From Mean Girl to BFF, "Girlfriends and Postfeminist Sisterhood" explores female sociality in postfeminist popular culture. Focusing on a range of media forms, including film, magazines, conduct books, TV and digital networking sites, Alison Winch reveals the ways in which friendships are increasingly encouraged to be strategic. Girlfriendship is examined as an affective social relation where slut-shamers, frenemies and bridezillas bond by controlling each other's body image through a 'girlfriend gaze'. Through a combination of psychosociological theory and media analysis, this book offers a complex understanding of patriarchy, by looking at how neoliberalism penetrates the intimate relations between women

Contemporary poetry is increasingly a site where the brutality of neoliberal politics is being contested. The three poems below illustrate the ways in which the culture-nature relationship is being rewritten. Nature in these poems is not separate from human experience; it is not a site for romantic contemplation or rural escape. Here, our relationship with the planet is written as emotionally and politically connected to the way we live on a daily basis. These poems are charged with pain, both in their content and their form. Clare Pollard's powerful 'The Oil' is a prose poem. On the page its thick shape mimics an oil slick. Its images grow in a rhythmic force, reflecting the increasing death grip of the ecological disaster. In James Goodman's 'Slash Poem' endangered animals are separated from mundane and aspirational consumer items by a slash. Here, the slash functions to reflect lacerating capitalist policies as species are cut in order to make room for the market and its attendant lifestyle choices. The poignancy of the species' vulnerability reaches its climax in the last line as 'the best before date' reveals the planet's own expiration. 'Greening' by Kate Potts imagines a future where we experience 'exaggerated seasonal die-off'. Like the other two poems, the power of 'Greening' comes from its easily locatable everyday descriptions: vitamin C, jogging, bunting. The recurring 'we' draws us into a social connection with the planet where drowsy sex, city parks and stockpiles are inextricably linked to shrinking wheatfields and the crisis of climate change. In these poems ecological emergency is part of daily life; it's Thomas Tank Engine pencil cases, Youtube videos and lager drinking. These poems are angry but they are also suffused with a heartbreaking bewilderment: 'what do we do now?' they seem to ask. Adapted from the source document.

"This book offers an original critique of the billionaire founders of US West Coast tech companies, addressing their collective power, influence and ideology, their group dynamics and the role they play in the wider sociocultural and political formations of digital capitalism. Interrogating not only the founders' political and economic ambitions, but also how their corporations are omnipresent in our everyday lives, the authors provide robust evidence that a specific kind of patriarchal power has emerged as digital capitalism's mode of command. The 'New Patriarchs' examined over the course of the book include: Sergey Brin and Larry Page of Google, Elon Musk of Tesla, Jeff Bezos of Amazon, Mark Zuckerberg of Facebook, Peter Thiel and Sheryl Sandberg. The book analyses how these men legitimate their rapidly acquired power, tying a novel kind of socially awkward but 'visionary' masculinity to exotic forms of shareholding. Drawing on a ten million word digital concordance, the authors intervene in feminist debates on patriarchy, masculinity and postfeminism, locating their power as emanating from a specifically racialised structure of power tied to imaginaries of the American Frontier, the patriarchal household and settler-colonialism. This is an important interdisciplinary contribution suitable for researchers and students across Digital Media, Media and Communication, Gender and Cultural Studies"--

In 2017, Facebook founder and CEO, Mark Zuckerberg, travelled America with a former White House photographer who took pictures of him sharing meals with families, workforces and refugee communities. These were then posted to Zuckerberg's Facebook page, usually with a post by Zuckerberg drawing attention to socioeconomic issues affecting different American communities. This article argues that Zuckerberg is mediated on this tour as a worthy populist contender to Donald Trump, albeit of a centrist, liberal, corporate kind. In particular, divisions along the lines of race, migration and class, which have been appropriated and emphasised by Trump, are apparently bridged and resolved through the representation of Zuckerberg, and the promotion of Facebook as a mediated fulcrum for civil society. Zuckerberg is pictured sharing food with, for example, Republican voters in Ohio and Somali migrants in Minnesota. We investigate how the differences projected between Zuckerberg and Trump pivot on the commodification of hospitality, particularly the mediation of shared meals, American hospitality, masculinity and 'diversity work'. We contextualise this analysis within an understanding of how Silicon Valley's monopoly capitalism perpetuates inequalities in its workforces and through its product design. We also attempt to make sense of the different social actors involved in Zuckerberg's mediated 'Year of Travel', including the PR team, the people in the photographs, the commenters, as well as the users of Facebook. Through these contextualisations, we argue that this mediated contestation of hospitality – who is welcome in American society, who is not and why – is central to understanding the tensions in contemporary American political culture.

AbstractIn a video that showcases a new Facebook feature, Mark Zuckerberg chats to his users, telling them that he's "just hanging out with you in my backyard." In this video-which is on his Facebook page-Zuckerberg discloses the domestic space of his backyard, revealing his interaction with family and friends. Depicted hosting a barbeque while watching the electoral debate, Zuckerberg performs an affective white postfeminist paternity (Hamad, 2014) by talking about hunting, eating meat, and being a father. This video is key in explaining how Zuckerberg affectively models patriarchal power. We argue that this PR exercise (for both him and Facebook which are portrayed as inextricably linked) functions to represent Facebook as enabling an empowered "community," rather than being just an instrument of data accumulation. In particular, Zuckerberg's affective paternalism is also a means to recoup and obfuscate patriarchal power structures. Zuckerberg's Facebook page constructs an intimate paternalism in relation to his domestic sphere, but also to his followers, and this works to legitimate his corporate and global paternalism. The ways in which he is portrayed through signifiers of an emotional fatherhood work to gloss his power as the third richest man in the world.

In this first instalment of our Soundings series on critical terms, we look at the idea of 'generation', a term which has become highly prevalent within political discourse since the financial crisis. As with all the concepts in this series, the idea of generation is differently mobilised by different political actors. Right-wing thinkers use generation in a sense that can be traced back to Edmund Burke to mean the transmission of property and culture through time, while other commentators draw on meanings derived from Mannheim to refer to the experiences of particular cohorts at times of rapid political change. For activists on the left, it is important to distinguish between these different connotations of generation. The Burkean approach has regressive implications, for example in the justification of austerity as a way of protecting future generations from debt; and the Mannheimian understanding, although not as conservative, needs to be connected to an intersectional analysis that looks at other identity markers alongside those of age - such as class, race, gender and sexuality - so as to avoid flattening differences within cohorts and impeding solidarities between generations.

Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- Citation Information -- Notes on Contributors -- Introduction: Why "intergenerational feminist media studies"? -- Introduction: mediating feminist generations -- Critiquing generational approaches -- Using generation in feminist media studies -- A conjunctural analysis of generation -- Conceiving of feminist generations: affective flashpoints -- This anniversary issue -- Note -- Acknowledgements -- Disclosure statement -- References -- 1. Pretty past it? Interrogating the post-feminist makeover of ageing, style, and fashion -- Introduction -- She's in fashion: the ageing female subject in vogue -- "The young are so-well, old hat": Advanced Style takes the stage -- About time: the Fabulous Fashionistas' "old lady revolution" -- Older women defining "cool": subversion vs exploitation -- Notes -- Acknowledgements -- Disclosure statement -- References -- 2. Handover women: Hong Kong women filmmakers and the intergenerational melodrama of infidelity -- Introduction -- The gendered flashback and the generation gap in Ann Hui's July Rhapsody -- The Handover as tragic romance in City of Glass -- Lesbian desire takes flight in Butterfly -- The cross-generational melodrama of Hong Kong feminism: women of the New Wave, Second Wave and HKSAR New Wave -- Notes -- Acknowledgements -- Disclosure statement -- Funding -- References -- 3. Post-postfeminism?: new feminist visibilities in postfeminist times -- Introduction: feminism, postfeminism and generation -- Interrogating postfeminism -- Uneven feminist visibilities -- Feminist issues in the media -- Feminist activism -- Corporate or neoliberal feminism -- Celebrity and style feminism -- Post-postfeminism? Theorizing continuity and change -- NEW GEN FEM and postfeminism -- Conclusion -- Notes -- Acknowledgements -- Disclosure statement.