Yael Levy
Biographic Data
| ID | 4621518 |
|---|---|
| NAME | Yael Levy |
| GIVEN NAMES | Yael |
| FAMILY NAME | Levy |
| SIGNATURE | LEVY Y |
| AFFILIATIONS | Tel Aviv University |
| ORCID | 0000-0002-8452-0710 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2018 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Forming the Self
This article examines the ways in which reality television form and textuality offer openings for participants’ self-representation, regardless of how they are initially characterized by edited dialogue and performance. The tension between production interests, commercial interests, and the self-reflexive desires of participants positions the reality participant in constant negotiation between narrative and performance, agency and commodification…
Boxed In
In pandemic TV, the horror of the home was not only part of the narrative in several shows that depicted pandemic-related plots, but also a result of the tension between the textual and the contextual. As people were feeling trapped indoors, even the most colorful televised living room stood as a symbol of the inability to leave the spatial confines of domesticity. In this paper, I show how pandemic television added an ominous layer to the repres…
Their Bodies, Their Selves
During the 2010s, American television witnessed a growing attention to and presence of women, both in TV representation and in TV creation and production. As part of that development, the self-representation of women who are both the creators and the stars of their shows — such as Lena Dunham (creator and star of Girls; HBO, 2012 – 17), Tig Notaro (creator and star of One Mississippi, Amazon, 2015 – 17), Issa Rae (creator and star of Insecure, HB…
A sexual subject
The black woman’s body has often been objectified in popular culture, exotified for its sexual otherness and objectified as inferior. Bearing on such tradition, the HBO series Insecure (2016—) utilizes the sexualization of the black woman’s body in both an intertextual and a resistant manner which in many ways reclaims the subjectivity of the objectified black woman. I argue that Insecure works to characterize its black women via their sexuality,…
Serial housewives
Featuring wealth, glamour and excess, The Real Housewives (Bravo, 2006—) has been frequently slammed for its reinforcing of hierarchical gender and class distinctions, promotion of capitalist values and perpetuation of social stereotypes. Though not denying the fact that the series possesses a dominant hegemonic tone, this paper contends that the show’s structure conceals subversive instances that undermine the very normativity the show perpetuat…
Serial housewives
Featuring wealth, glamour and excess, The Real Housewives (Bravo, 2006—) has been frequently slammed for its reinforcing of hierarchical gender and class distinctions, promotion of capitalist values and perpetuation of social stereotypes. Though not denying the fact that the series possesses a dominant hegemonic tone, this paper contends that the show’s structure conceals subversive instances that undermine the very normativity the show perpetuat…
Forming the Self
This article examines the ways in which reality television form and textuality offer openings for participants’ self-representation, regardless of how they are initially characterized by edited dialogue and performance. The tension between production interests, commercial interests, and the self-reflexive desires of participants positions the reality participant in constant negotiation between narrative and performance, agency and commodification…
Serial housewives
Featuring wealth, glamour and excess, The Real Housewives (Bravo, 2006—) has been frequently slammed for its reinforcing of hierarchical gender and class distinctions, promotion of capitalist values and perpetuation of social stereotypes. Though not denying the fact that the series possesses a dominant hegemonic tone, this paper contends that the show’s structure conceals subversive instances that undermine the very normativity the show perpetuat…
A sexual subject
The black woman’s body has often been objectified in popular culture, exotified for its sexual otherness and objectified as inferior. Bearing on such tradition, the HBO series Insecure (2016—) utilizes the sexualization of the black woman’s body in both an intertextual and a resistant manner which in many ways reclaims the subjectivity of the objectified black woman. I argue that Insecure works to characterize its black women via their sexuality,…
Their Bodies, Their Selves
During the 2010s, American television witnessed a growing attention to and presence of women, both in TV representation and in TV creation and production. As part of that development, the self-representation of women who are both the creators and the stars of their shows — such as Lena Dunham (creator and star of Girls; HBO, 2012 – 17), Tig Notaro (creator and star of One Mississippi, Amazon, 2015 – 17), Issa Rae (creator and star of Insecure, HB…
Boxed In
In pandemic TV, the horror of the home was not only part of the narrative in several shows that depicted pandemic-related plots, but also a result of the tension between the textual and the contextual. As people were feeling trapped indoors, even the most colorful televised living room stood as a symbol of the inability to leave the spatial confines of domesticity. In this paper, I show how pandemic television added an ominous layer to the repres…
Forming the Self
This article examines the ways in which reality television form and textuality offer openings for participants’ self-representation, regardless of how they are initially characterized by edited dialogue and performance. The tension between production interests, commercial interests, and the self-reflexive desires of participants positions the reality participant in constant negotiation between narrative and performance, agency and commodification…
Gender, Feminism, and Media (5 works) · Sociology (5 works) · Aesthetics (4 works) · Art (4 works) · Cinema and Media Studies (4 works) · Gender Studies (3 works) · Gender Studies (3 works) · Political science (3 works) · Advertising (2 works) · History (2 works)