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Good articleFeminism has been listed as one of the Social sciences and society good articles under the good article criteria. If you can improve it further, please do so. If it no longer meets these criteria, you can reassess it.
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February 10, 2007Good article nomineeNot listed
August 19, 2007Good article nomineeNot listed
June 18, 2008Peer reviewReviewed
December 7, 2011Good article nomineeListed
Current status: Good article

Template:ArtAndFeminism2015 article This article is or was the subject of a Wiki Education Foundation-supported course assignment. Further details are available on the course page. Student editor(s): Aweeder13 (article contribs).

Intersectionality

Intersectionality is a newer term in feminist theory, coined by Kimberly Crenshaw in 1989 as "the view that women experience oppression in varying configurations and in varying degrees of intensity". Intersectionality is not an original concept of Crenshaw, however. [1]

  1. ^ http://heinonline.org/HOL/LandingPage?handle=hein.journals/uchclf1989&div=10&id=&page=

Celebrity and Media

(Under category Culture)

First coined by Jennifer Wicke, a professor at the University of Virginia, the term “celebrity feminism” refers to a modern form of feminism that is created by female celebrities who are eager to publicly claim feminist identities[1]. The past few years have been noted for the recurring trend of active feminism, in which numerous celebrities made feminism more visible through performances, open speeches, and social media. Forums, such as Elle UK, released issues solely discussing feminism and quoted that 2014 was “a year…in which feminism was increasingly visible within popular media cultures, including celebrity cultures”[2]. In their article, Introduction: feminism and contemporary celebrity culture, Hamad and Taylor also emphasize this “snowballing” effect of celebrity culture and that the figure of “self-professed” feminist celebrity became an ongoing flashpoint of cross-media celebrity landscape. The growing number of celebrities publicly identifying themselves as feminists, notably Beyoncé, Emma Watson, and Jennifer Lawrence, has defined major moments within the entertainment industry, creating multiple debates on social media platforms. Young women, contributing as the majority of the audience of mainstream celebrity culture and users of online media, are therefore exposed to such discussion and respond to them in distinct ways. According to journalist Connie Crane, social media, like Facebook and Twitter, are “relatively affordable, ubiquitous, and simple” and therefore allow broader access to feminist debates.

With celebrity feminism and social media conjoining to create this new platform, feminism has expanded to become a widespread interest of the public. Feminist blogs have become a ground for young women of different cultures and contexts to come together and advocate for their equal rights in school and work [3]. Debates over the media representations of celebrities as feminists are therefore ongoing and social media has become the major platform for teenage girls to voice their opinions. In her 2014 MTV Video Music Awards performance, Beyoncé appeared on stage with the word ‘feminist’ illuminated in oversized lettering behind her. The performance received great media attention, some critics referring to such movement as a “celebrity zeitgeist” and of “orchestrated publicity”[4]. Immediately after the performance, feminist blog posts and online discussion boards were updated with debate over whether her performance was truly a “feminist” movement. Some blamed her skin-exposing outfit, commenting that it was “contradicting to what she’s saying”, while some criticized it as a marketing tactic, questioning her understanding of the term [5][6]. In September 2014, Emma Watson, as UN Women Goodwill Ambassador, was applauded for her speech on gender equality and the launching of a campaign called “HeForShe”. While the public praised her activism, many young feminists opened online discussions, questioning the campaign’s validity[7]. They believed that the campaign’s goal, to inform young boys and ask for gender equality, was flawed and diverted “attention to men”[8].

There is great debate over “celebritized” feminism, in which young feminists appreciate the growing popularity but criticize the manipulation of fame and misunderstanding of the core beliefs of feminism. As Hamad and Taylor noted, intersections of feminism and contemporary celebrity culture are “myriad, complicated, and contradictory”. While one does not necessarily benefit or harm the other, both use appropriate methods to utilize its medium and communicative differences. The controversy that always follows feminist publicity results in critics and young women recognizing that there is no “authentic feminism that exists beyond its celebrity manifestations”[9]. There is definite increase in attention to feminism in mainstream media, yet young feminists remain skeptical of the media representation[10]. For example, news forums and magazine articles have reportedly announced celebrities’ response to the self identification as a feminist. Figures such as Katy Perry, Kelly Clarkson, and Lady Gaga were noted to either shun away from the term or ambiguously answer without a determined motive or reason[11]. Celebrity feminism is thus commonly believed as surface level feminism and is said to be turning into a “fashion” and trend in which stars use the publicity to their own career benefits and “articulate political positions” [12][13]. As awareness of gender equality is increasing, celebrities are voicing their opinions, either due to sincere passion or for publicity and reputation, and explicitly stand in positions that can greatly influence the minds of the audience.

The intersection between feminism and celebrity culture, and its portrayal through media, has thus “shaped the kinds of feminism that come to publicly circulate”[14]. Celebrity news, largely communicated through social media, creates current popular culture and the audience are keen to follow regardless of their personal stance[15]. In her article, Keller discussed the “lack of education that girls and boys receive about feminism”, and how celebrity publicity replaces this gap. Media representations of self-professed feminist celebrities frequently contradict fundamental feminist ideologies, which evidently distort the public’s understanding[16] [17]. Literature examples, such as Piercy’s poem Barbie Doll or Tiptree’s science fiction The Girl Who Was Plugged In, illustrate this misrepresentation and confusion. Both works depict extreme societal expectations on women and appearance, as well as gender embodiment. The idealized female body in which both works portray are “results of celebrity endorsement and consumerism”[18].These embellished images of female bodies however are still reproduced by celebrities who claim to be feminists, belying their publicized opinions that women have the right to disregard sexual expectations and gender roles. Influences in which society and media have on the perspectives of the young audience are discussed, and this questions the ability of celebrities to “represent the complexities of contemporary feminist issues”[19]. Through social networking and media representations, young women are expanding their knowledge by discussing the rise in celebrity feminism and interpreting the influences in which such publicity tactics can have on their, and the public’s feminist perspectives.

References

  1. ^ Keller, Jessalynn, and Jessica Ringrose. “‘But then Feminism Goes Out the Window!’: Exploring Teenage Girls’ Critical Response to Celebrity Feminism.” Celebrity Studies (2015): n. pag. Web. 7 Apr 2015.
  2. ^ Keller, Jessalynn, and Jessica Ringrose. “‘But then Feminism Goes Out the Window!’: Exploring Teenage Girls’ Critical Response to Celebrity Feminism.” Celebrity Studies (2015): n. pag. Web. 7 Apr 2015.
  3. ^ Crane, Connie Jeske. "Social Media As A Feminist Tool." Herizons 26.2 (2012): 14-16. MasterFILE Elite. Web. 14 Apr. 2015
  4. ^ Hamad, Hannah, and Anthea Taylor. "Introduction: Feminism And Contemporary Celebrity Culture." Celebrity Studies 6.1 (2015): 124. Publisher Provided Full Text Searching File. Web. 9 Apr. 2015.
  5. ^ Hamad, Hannah, and Anthea Taylor. "Introduction: Feminism And Contemporary Celebrity Culture." Celebrity Studies 6.1 (2015): 124. Publisher Provided Full Text Searching File. Web. 9 Apr. 2015.
  6. ^ Keller, Jessalynn, and Jessica Ringrose. “‘But then Feminism Goes Out the Window!’: Exploring Teenage Girls’ Critical Response to Celebrity Feminism.” Celebrity Studies (2015): n. pag. Web. 7 Apr 2015.
  7. ^ Keller, Jessalynn, and Jessica Ringrose. “‘But then Feminism Goes Out the Window!’: Exploring Teenage Girls’ Critical Response to Celebrity Feminism.” Celebrity Studies (2015): n. pag. Web. 7 Apr 2015.
  8. ^ Keller, Jessalynn, and Jessica Ringrose. “‘But then Feminism Goes Out the Window!’: Exploring Teenage Girls’ Critical Response to Celebrity Feminism.” Celebrity Studies (2015): n. pag. Web. 7 Apr 2015.
  9. ^ Hamad, Hannah, and Anthea Taylor. "Introduction: Feminism And Contemporary Celebrity Culture." Celebrity Studies 6.1 (2015): 124. Publisher Provided Full Text Searching File. Web. 9 Apr. 2015.
  10. ^ Keller, Jessalynn, and Jessica Ringrose. “‘But then Feminism Goes Out the Window!’: Exploring Teenage Girls’ Critical Response to Celebrity Feminism.” Celebrity Studies (2015): n. pag. Web. 7 Apr 2015.
  11. ^ Hamad, Hannah, and Anthea Taylor. "Introduction: Feminism And Contemporary Celebrity Culture." Celebrity Studies 6.1 (2015): 124. Publisher Provided Full Text Searching File. Web. 9 Apr. 2015.
  12. ^ Hamad, Hannah, and Anthea Taylor. "Introduction: Feminism And Contemporary Celebrity Culture." Celebrity Studies 6.1 (2015): 124. Publisher Provided Full Text Searching File. Web. 9 Apr. 2015.
  13. ^ Keller, Jessalynn, and Jessica Ringrose. “‘But then Feminism Goes Out the Window!’: Exploring Teenage Girls’ Critical Response to Celebrity Feminism.” Celebrity Studies (2015): n. pag. Web. 7 Apr 2015.
  14. ^ Hamad, Hannah, and Anthea Taylor. "Introduction: Feminism And Contemporary Celebrity Culture." Celebrity Studies 6.1 (2015): 124. Publisher Provided Full Text Searching File. Web. 9 Apr. 2015.
  15. ^ Kingston, Anne. “New Girl, Go Girl.” MacLean’s (2014): n. pag. Web. 13 Apr 2015.
  16. ^ Hamad, Hannah, and Anthea Taylor. "Introduction: Feminism And Contemporary Celebrity Culture." Celebrity Studies 6.1 (2015): 124. Publisher Provided Full Text Searching File. Web. 9 Apr. 2015.
  17. ^ Keller, Jessalynn, and Jessica Ringrose. “‘But then Feminism Goes Out the Window!’: Exploring Teenage Girls’ Critical Response to Celebrity Feminism.” Celebrity Studies (2015): n. pag. Web. 7 Apr 2015.
  18. ^ Kingston, Anne. “New Girl, Go Girl.” MacLean’s (2014): n. pag. Web. 13 Apr 2015.
  19. ^ Keller, Jessalynn, and Jessica Ringrose. “‘But then Feminism Goes Out the Window!’: Exploring Teenage Girls’ Critical Response to Celebrity Feminism.” Celebrity Studies (2015): n. pag. Web. 7 Apr 2015.

Needs Improvement

This article needs improvement because it's 100% feminist leaning. Sources that are used are heavily biased and pro-feminist. More space and sources should be provided with criticism of the feminism, so we can get a balanced opinions. Feminism is not about equality, because Feminism is not Egalitarianism. — Preceding unsigned comment added by 174.7.172.44 (talk) 17:27, 11 August 2017 (UTC)[reply]

See WP:GEVAL. Ian.thomson (talk) 18:07, 11 August 2017 (UTC)[reply]

This is partially due to the fact that this article isn't in fact about feminism. Under the Third Wave section it states "In the early 1990s in the USA, third-wave feminism began as a response to perceived failures of the second wave..", but is only partially correct. That period was when the third wave feminism and analytic feminism formally split in formulating approaches to deal with the second wave issues, which at the time was called the postmodern (or post-structuralist)-analytic split; and in fact most scholarly sources, such as the Stanford Encyclopedia of Philosophy and many APA publications still use this phrasing.

This article isn't about feminism nearly as much as it's about the developments within the postmodern/post-structuralist branch after that split. The dominant editors, and most of the editors by far, have some groundings and interest relating to this branch only. The APA (American Philosophical Association) has held discussions not only on this issue, but this very article. This is perfectly analogous to a philosophy entry that notes the birth of continental philosophy, and then goes on to only discuss continental philosophy as if that was the totality of the field, with formally educated and professional opinions being labeled "fringe" and "not noteworthy" and "bias" just as has happened here with this issue. (On at least one occasion a highly respected feminist philosopher, with decades of publishing experience, was told she was 'clearly uninformed' on the subject and was threatened to not repeat her edits, to the somewhat comical reaction to several prominent APA members.) It's not meant as an insult, but the bias and lack of formal educational grounding is so stark regarding this article, that the article literally ignores the other major branch (the other being analytic, just as with the field of philosophy itself) without even realizing the scale of its existence.

There's a reason why this entry looks nothing like the one(s) found in Stanford Encyclopedia of Philosophy. That's not meant to be cruel, but it is very sad. Maxxx12345 (talk) 15:38, 12 October 2017 (UTC)[reply]

Two Schools of Thought

Can we include the fact in the introduction that diverse schools exist within feminist and then define Individual Feminism vs Radical Feminism. Here is a good source written by Individual Feminist Wendy McElroy https://www.libertarianism.org/encyclopedia/feminism-womens-rights Thanks.

The sidebar in the article links to various types of feminism. You can find Individualist feminism and Radical feminism linked there. EvergreenFir (talk) 19:01, 1 September 2017 (UTC)[reply]

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