Neoliberal Film and Feminism
Bibliographic Data
| ID | 18979162 |
|---|---|
| Authors | Robin Goodman (0000-0002-8546-1580, Florida State University), Robin Truth Goodman (0000-0001-7759-1433, Florida State University, corresponding author) |
| Year | 2021 |
| Volume | 23 |
| Issue | 5 |
| Pages | 754-771 |
| Publication date | 2021-07-04 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Interventions (JOURNAL) |
| Journal identifiers | ISSN: 1369-801X • E-ISSN: 1469-929X |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/1369801x.2021.1885467 |
| OpenAlex | W3134749571 |
| Language | EN |
| Citations received | 2 |
| References cited | 6 |
This essay looks at two recent films – Rick Rosenthal's 2013 Drones and Ana Lily Amirpour's 2014 A Girl Walks Home Alone at Night – to discuss the intersections between feminism and neoliberalism. It argues neoliberalism promotes images of feminist-influenced independent women in order to advance its ideologies of resilience and public-sector critique as well as to make sense of its policies of privatization, technological expansion, and cuts in workforce supports. Images of women in such films also serve to create narrative and moral meanings that support forms of exploitation in reproductive economies. However, such films also demonstrate that neoliberalism's citations of feminism cannot help but produce multiple feminist perspectives, some of which cannot be collapsed into – and even contradict – neoliberalism's constructions
Art · Feminism · Ideology · Narrative · Political economy · Political science · Politics · Sociology · Workforce · Cinema and Media Studies · Gender Studies · Gender, Feminism, and Media · Law · Youth Education and Societal Dynamics
| Citations per year | 0.5 |
|---|---|
| Citation span | 2022 - 2023 (2) |
| Highly cited | No |