Emily D Ryalls
Biographic Data
| ID | 5038459 |
|---|---|
| NAME | Emily D Ryalls |
| GIVEN NAMES | Emily D |
| FAMILY NAME | Ryalls |
| SIGNATURE | RYALLS E D |
| AFFILIATIONS | California Polytechnic State University |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 19 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 3 |
Death by Text
Girls, anger, and popular feminism on Netflix
Contributing to the ongoing scholarly debates about popular feminism in female-centric media culture, this project explores what the recent Netflix teen girl programs I Am Not Okay With This (2020), Trinkets (2019–20), and Never Have I Ever (2020–2023) reveal about adolescent girls’ – particularly girls of color and/or queer girls—feminisms and expressions of anger. Girls in these programs freely express anger, progress through a series of “femin…
Flipping the heterosexual script
Studies have documented how U.S. teen television programmes perpetuate a dominant heterosexual script in which girls are instructed to deny their sexual desire and to passively wait to be chosen by boys. This project explores how Netflix's reputation for producing 'quality television' provides space for girl-centric programmes to flip conventions of genre and intervene in considerations of girls' sexuality. We argue the Netflix shows I Am Not OK …
Famous, Beloved, Reviled, Respected, Feared, Celebrated
In the 16 months before TIME magazine naming Greta Thunberg its Person of the Year, as her influence grew, so too did the news media’s attempts to make sense of her. This project analyzes profiles of Greta Thunberg to understand how journalists constructed the persona that has become “Greta.” We argue the paradoxical framing of Thunberg as exceptional and fierce and childlike contributes to an alternative construction of girlhood grounded in the …
Representing rape culture on teen television
Increasing cultural attention to sexual assault in the U.S. has raised questions about consent, leading some states to implement “yes means yes” laws. In order to provide insight into how mainstream discourse take into account feminist understandings of sexual violence and affirmative consent, this article considers representations of rape culture and affirmative consent in two recent teen television programs, 13 Reasons Why (2017-2020) and Sweet…
Everything Is Different the Second Time Around”
Orange Is the New Black (OITNB) offers Netflix viewers the chance to go behind bars and see the Prison Industrial Complex from the inside. Described by creator Jenji Kohan as “my activism,” OITNB showcases the reprehensible treatment of elderly female prisoners, while simultaneously adhering to age-old tropes of femininity as manipulative. Using Goffman’s work on stigma as a framework, we examine representations of elderly women on OITNB, while a…
Ambivalent aspirationalism in millennial postfeminist culture on Gossip Girl
The teen television show Gossip Girl positions classed subjectivities as based on an imagined authentic moral value system as opposed to economic reality, with troubling outcomes for middle-class girls. By combining the postfeminist myths of individuality, choice, and success with capitalist ideology, the show preserves a hierarchy in which social climbing is presented as dangerous to only girls. Gossip Girl suggests that middle-class girls' prim…
Emo Angst, Masochism, and Masculinity in Crisis
Emo, a subculture consisting of white heterosexual boys, acts as a locale to challenge hegemonic masculinist identities. Emo masculinity crosses the boundaries of heteronormative masculinity, as the boys appropriate normatively feminine characteristics (such as emotional earnestness) and perform homosexual acts (for example, same-sex kissing). In this sense, the subculture confronts the limiting boundaries of gender and sexuality and can be quite…
Famous, Beloved, Reviled, Respected, Feared, Celebrated
In the 16 months before TIME magazine naming Greta Thunberg its Person of the Year, as her influence grew, so too did the news media’s attempts to make sense of her. This project analyzes profiles of Greta Thunberg to understand how journalists constructed the persona that has become “Greta.” We argue the paradoxical framing of Thunberg as exceptional and fierce and childlike contributes to an alternative construction of girlhood grounded in the …
Emo Angst, Masochism, and Masculinity in Crisis
Emo, a subculture consisting of white heterosexual boys, acts as a locale to challenge hegemonic masculinist identities. Emo masculinity crosses the boundaries of heteronormative masculinity, as the boys appropriate normatively feminine characteristics (such as emotional earnestness) and perform homosexual acts (for example, same-sex kissing). In this sense, the subculture confronts the limiting boundaries of gender and sexuality and can be quite…
Everything Is Different the Second Time Around”
Orange Is the New Black (OITNB) offers Netflix viewers the chance to go behind bars and see the Prison Industrial Complex from the inside. Described by creator Jenji Kohan as “my activism,” OITNB showcases the reprehensible treatment of elderly female prisoners, while simultaneously adhering to age-old tropes of femininity as manipulative. Using Goffman’s work on stigma as a framework, we examine representations of elderly women on OITNB, while a…
Girls, anger, and popular feminism on Netflix
Contributing to the ongoing scholarly debates about popular feminism in female-centric media culture, this project explores what the recent Netflix teen girl programs I Am Not Okay With This (2020), Trinkets (2019–20), and Never Have I Ever (2020–2023) reveal about adolescent girls’ – particularly girls of color and/or queer girls—feminisms and expressions of anger. Girls in these programs freely express anger, progress through a series of “femin…
Flipping the heterosexual script
Studies have documented how U.S. teen television programmes perpetuate a dominant heterosexual script in which girls are instructed to deny their sexual desire and to passively wait to be chosen by boys. This project explores how Netflix's reputation for producing 'quality television' provides space for girl-centric programmes to flip conventions of genre and intervene in considerations of girls' sexuality. We argue the Netflix shows I Am Not OK …
Representing rape culture on teen television
Increasing cultural attention to sexual assault in the U.S. has raised questions about consent, leading some states to implement “yes means yes” laws. In order to provide insight into how mainstream discourse take into account feminist understandings of sexual violence and affirmative consent, this article considers representations of rape culture and affirmative consent in two recent teen television programs, 13 Reasons Why (2017-2020) and Sweet…
Ambivalent aspirationalism in millennial postfeminist culture on Gossip Girl
The teen television show Gossip Girl positions classed subjectivities as based on an imagined authentic moral value system as opposed to economic reality, with troubling outcomes for middle-class girls. By combining the postfeminist myths of individuality, choice, and success with capitalist ideology, the show preserves a hierarchy in which social climbing is presented as dangerous to only girls. Gossip Girl suggests that middle-class girls' prim…
Emo Angst, Masochism, and Masculinity in Crisis
Emo, a subculture consisting of white heterosexual boys, acts as a locale to challenge hegemonic masculinist identities. Emo masculinity crosses the boundaries of heteronormative masculinity, as the boys appropriate normatively feminine characteristics (such as emotional earnestness) and perform homosexual acts (for example, same-sex kissing). In this sense, the subculture confronts the limiting boundaries of gender and sexuality and can be quite…
Everything Is Different the Second Time Around”
Orange Is the New Black (OITNB) offers Netflix viewers the chance to go behind bars and see the Prison Industrial Complex from the inside. Described by creator Jenji Kohan as “my activism,” OITNB showcases the reprehensible treatment of elderly female prisoners, while simultaneously adhering to age-old tropes of femininity as manipulative. Using Goffman’s work on stigma as a framework, we examine representations of elderly women on OITNB, while a…
Ambivalent aspirationalism in millennial postfeminist culture on Gossip Girl
The teen television show Gossip Girl positions classed subjectivities as based on an imagined authentic moral value system as opposed to economic reality, with troubling outcomes for middle-class girls. By combining the postfeminist myths of individuality, choice, and success with capitalist ideology, the show preserves a hierarchy in which social climbing is presented as dangerous to only girls. Gossip Girl suggests that middle-class girls' prim…
Representing rape culture on teen television
Increasing cultural attention to sexual assault in the U.S. has raised questions about consent, leading some states to implement “yes means yes” laws. In order to provide insight into how mainstream discourse take into account feminist understandings of sexual violence and affirmative consent, this article considers representations of rape culture and affirmative consent in two recent teen television programs, 13 Reasons Why (2017-2020) and Sweet…
Famous, Beloved, Reviled, Respected, Feared, Celebrated
In the 16 months before TIME magazine naming Greta Thunberg its Person of the Year, as her influence grew, so too did the news media’s attempts to make sense of her. This project analyzes profiles of Greta Thunberg to understand how journalists constructed the persona that has become “Greta.” We argue the paradoxical framing of Thunberg as exceptional and fierce and childlike contributes to an alternative construction of girlhood grounded in the …
Flipping the heterosexual script
Studies have documented how U.S. teen television programmes perpetuate a dominant heterosexual script in which girls are instructed to deny their sexual desire and to passively wait to be chosen by boys. This project explores how Netflix's reputation for producing 'quality television' provides space for girl-centric programmes to flip conventions of genre and intervene in considerations of girls' sexuality. We argue the Netflix shows I Am Not OK …
Death by Text
Girls, anger, and popular feminism on Netflix
Contributing to the ongoing scholarly debates about popular feminism in female-centric media culture, this project explores what the recent Netflix teen girl programs I Am Not Okay With This (2020), Trinkets (2019–20), and Never Have I Ever (2020–2023) reveal about adolescent girls’ – particularly girls of color and/or queer girls—feminisms and expressions of anger. Girls in these programs freely express anger, progress through a series of “femin…
Gender, Feminism, and Media (7 works) · Sociology (7 works) · Psychology (6 works) · Gender Studies (5 works) · Law (5 works) · Political science (5 works) · Gender Studies (4 works) · Law (4 works) · Social Psychology (4 works) · Art (3 works)