Titlebook: Girlfriends and Postfeminist Sisterhood; Alison Winch Book 2013 Alison Winch 2013 culture.feminism.media.television.women

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Handbuch interkulturelle Germanistikage’, chimes in Trinny and the camera lingers on their sullen faces. In this ‘mock-umentary’ Trinny and Susannah camp up their class, celebrity and friendship through portraying themselves in country houses, riding horses, being massaged and reaping the benefits of an upper middle class lifestyle. T

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,Disziplin?re und theoretische Zug?nge,Making oneself into a brand, she enthuses, will ensure the ensnaring of a husband — even after 30. Greenwald advises that the potential bride brand will be more authentically herself and, simultaneously, meticulously crafted and cultivated through marketing strategies. These strategies combine brand

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Wulf Wülfing,Karin Bruns,Rolf Parrriendships while also noting how they have the potential to generate powerful negative feelings: ‘Behind the curtain of sisterhood lies a myriad of emotional tangles that can wreak havoc in women’s relationships with each other’ (Eichenbaum and Orbach, 1988, 10–11). Indeed, my most cherished friends

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The Girlfriend Gaze,he students by denigrating their weight, and she also participates in slut-shaming by calling the other girls sluts and whores. These forms of regulation intersect with misogyny. As one of the teachers, Ms Norbury (played by Tina Fey, who is also the writer and therefore a privileged mouthpiece for

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Womance,marginalized or rendered benign, and it is women’s ability to shine for and with their girlfriends that drives the narrative. In the womance, the aisle is a highly sentimentalized locus of friendship and reconciliation between women: the two white-gowned sisters in . (2005) express their sibling lov

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Making White Lives Better?, project in 1960s Mississippi, and Skeeter is cast as the girl-heroine who innocently sees through the retro racism of her peers. Although she should represent the generation of second-wave feminists, she is troped through the signifiers of postfeminism: she is girly, happy, thin and relentlessly en

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Catfight,idi replies ‘my favourite stories are my stories with you, my favourite memories are my memories with you’ (‘Don’t Cry on Your Birthday’ 5:1). Heidi and Lauren’s girlfriend break-up veers from sentimentality to crisis. Moreover, the suffering induced by their conflict is heightened because it is cre

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Class and British Reality Television, is employed as a means to generate conflict between women. I explore the affect of friend-ship and female sociality in the UK ‘social work’ television programmes (Skeggs and Wood, 2011, 42), . (Channel 4, 2010–2012) and . (Channel 4, 2003–2009). Not all these programmes are overt examples of girlfr

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Conclusion: Feminism, Friendship and Conflict,easily expressed and, as a consequence, collaborations, networks and intimacies can be destroyed. If conflicts between women do not have a collective space to be unpacked then solidarities can implode, leading to the dissolution of projects and manifestos.

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