Feminist And Postfeminist Readings Of Romantic Narratives

Heterosexual romantic experiences versus Sex and the City

Datos Bibliográficos

ID12690479
AutoresRiva Tukachinsky (autor de correspondencia), Riva H Tukachinsky
Año2008
Volumen8
Número2
Páginas181-196
Fecha de publicación2008-06-01
Peer ReviewedSí
Open AccessNo
TipoARTICLE
RevistaFeminist Media Studies (JOURNAL)
Identificadores de la revistaISSN: 1468-0777 • E-ISSN: 1471-5902
EditorialTaylor & Francis (PUBLISHER • GB)
DOI10.1080/14680770801980562
OpenAlexW1516866636
IdiomaEN
Citas recibidas6
Referencias citadas23

This paper examines the reception and interpretation of romantic narratives among fifteen Israeli heterosexual women viewers of the TV series Sex and the City. Based upon the dialogue carried out by the participants in two discussion groups and individual interviews, I map the different strategies employed by the viewers in interpreting the show, as situated within their worldviews concerning issues such as romance and romantic relationships, power relations, and social gender roles. Acknowledgements The author would like to thank Dr. Oren Meyers of the University of Haifa for his advice during every stage of the research; Dr. Amir Hetsroni of Yezreel Valley College for his help in arranging the discussion groups; and Mr. Oren Livio of the University of Pennsylvania for his helpful comments and assistance in writing the English version of the manuscript. Notes 1. According to the Israeli Audience Research Board, the series averaged a rating of 21.5 percent. Over six seasons, Citation Sex and the City was consistently rated among the twenty most watched shows in Israel, an impressive figure given its late prime time placement and the fact that the most popular shows in Israel are usually locally produced. In the US, each episode reached 4,914,000 households (an average rating of 3.5 percent). It occupied the top spot in the cable stations ratings chart until the final episode was aired in 2004. Since then, it has been shown on many stations across the country on a syndication basis. 2. All names mentioned in this paper were changed in order to insure participants' anonymity. For convenience, I have chosen Israeli names that are also familiar to the English speaking reader. 3. For convenience, I will heretofore refer to the participants who called themselves romantic as “romantic,” and to those who said they were not romantic as “unromantic.” 4. Charlotte was seen as different from the other protagonists I will elaborate on her character later on

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