Post feminism has emerged as one of the most fundamental, as well as the most contested notions in the area of cultural studies and media studies. This is because post feminism has different interpretations among scholars. Firstly, post feminism is considered a political position with regards to the feminist confrontation with difference. Secondly, post feminism is seen as a historical shift within feminism. Finally, the concept of post feminism is believed to be a backlash against feminism, where neoconservative and traditional values are prominent (Roche, 2015). Generally, post feminism is a new form of empowerment and independence, sexual pleasure, individual choice, fashion, hybridism, consumer culture, as well as the renewed focus on the female body. It is important to realize that post feminism seeks to challenge the notions of the second wave feminist ideas. Media discourses play a significant role in the evolution, development, and representation of post feminism. HBO series “Girls” is one of the outstanding texts that have portrayed post feminism. The movie series “Girls” depicts the essential elements of post-feminist critique that seeks to redefine the sexuality of women. The main elements of post feminism demonstrated in the film include the shift from protection of women to liberation of women, as well as choice and independence.
The young women in “Girls” represent a new generation of women who epitomize post feminism ideals. The sexual equality being enjoyed by the women in the film indicate that women have already managed to break through binary thinking. Women are currently in a position where they can challenge authoritarian paradigms, as well as fixed universal categories such as gender. The young women in “Girls,” who are subjects of post feminism, are portrayed as independent, calculating, entrepreneurial, and self-governing. This demonstrates the fact that media discourses call upon women to exercise self-discipline and self-management. It is evident from “Girls” that post feminism revolves around debates on anti-essentialism and difference. Therefore, post-feminist ideas are a critical resistance against the popularly held second wave feminist ideas that emphasized the need for gender equality (Richardson & Wearing, 2014). The second wave feminist thought was based on various theoretical frameworks such as radical, liberal and psychoanalytical, all of which were united by a commitment to equality, sameness, sisterhood, scientific understanding and universal action (Mulvey, 1999). Post feminism challenges much of the second wave feminist ideas, particularly the idea of binary thinking and essentialism.
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The conversations and actions of the women in “Girls” demonstrate post feminism’s opposition to second wave feminist ideas relating to essentialism and binary thinking. This manifestation offers important insight in terms of approaching the desires of women in the post-modern society. The committed friendships as well as the sex talk in “Girls” demonstrate a shift from objectivity to subjectivity. The text serves to suggest female independence, free from traditional and naturalized boundaries regarding sexuality. On the contrary, the ideas of second wave feminism used binary categorizations by focusing on equality, universalism, sisterhood and the basic similarity between sexes. As such, second wave feminism drew a monolithic conception of the woman. In opposition to second wave feminism, post feminism focuses on anti-essentialism, difference, and hybridism. This way, post feminism seeks to pierce fixed binary categories and promote multiple identities. The post-feministic constructs of empowerment, sexual liberation, choice, and individualism have ushered in a new forum of discussion about sex positive women. As such, post-feminism has redefined previous notions of femininity to include the individual.
The main character in “Girls,” Hannah Horvath, represents an empowered, consenting woman during her sexual escapades with Adam Driver, her illusive boyfriend. In the opening scene of the second episode of the series, “Girls,” Hannah and her boyfriend emerge into view from the dusky focus of an outsider. Such a distance removes the viewer from the intimacy physically, allowing an outsider’s interpretation. Adam makes dominant sexual advances on Hannah, as he physically towers her. Her boyfriend attempts to engage in a sexual role-play, as he recounts to Hannah her role as a helpless eleven-year-old girl. The shot highlights her boyfriends angered face until she realizes his intentions to reenact a rape scene. Hannah seems uncomfortable with the seemingly scenario of rape. As the scene nears conclusion, Adam asks if he can ejaculate on her. This act portrays a degrading act of marking his territory. The scene ends with Adam satisfying his sexual desires, with Hannah claiming that her sexual needs were also met. However, the scene solely highlights her boyfriend’s sexual pleasure and power.
The post-feminist ideas advance a loosely defined woman as a sex positive creature who is sexually liberated from the second wave feminist concepts of objectification and the need for protection (Springer, 2007). In “Girls,” Hannah exhibits her sexual freedom by participating actively in her boyfriend’s sexual fantasies of rape, although she appears uncomfortable during the act. Hannah appears to be torn between the ideals of feminism and post feminism. As much as she desires protection and respect, which are ideals of feminism, she also desires empowerment and independence associated with post feminism. Hannah allows her boyfriend to perform his sexual fantasies, yet she later terms the act disgusting. The paradoxical actions of Hannah confirm the post-feminist idea of the silent and modern girl to fit into the role of a new female subject. “Girls” depicts the post-feminist woman as a voiceless presence that, despite her privilege, approves of objectification in order to counter feminist notions.
In the second episode of the series, Marnie and Hannah discuss their sexual relationships, comparing the behaviors of their individual partners. Hannah describes the behavior of Adam as harassing. However, she shrugs off when Marnie looks startled. Although Hannah expresses discomfort about her boyfriend’s sexual fantasies, she accepts it as an aspect of their sex life. In doing so, Hannah attempts to fill the role of the modern post-feminist woman through the acceptance of the traditional taboo, rape. As such, Hannah upholds the ideals of the post-modern sophisticated woman. She believes that accepting her boyfriend’s non-normative sexual desires, is the only way to compete and obtain affection.
A sharp contrast is portrayed by Marnie and Charlie’s sex scene, where the ideals of the older generation of feminism are upheld. The scene reflects the female respect and the shielding of women from objectification. Soft and light music preludes Marnie and Charlie’s intimate scene. Charlie affectionately kisses Marnie’s arm as she rolls her eyes. Throughout the entire time, Marnie remains half-clothed, creating some form of barrier between her and Charlie. Marnie looks away and Charlie make a gentle and desperate attempt to have her look at him. However, Marnie asks if they can switch positions, allowing her to completely remove herself from the situation by removing eye contact and touch. There is a chasm between respect and female sexuality that divides Marnie and Charlie’s sexual relationship. As a result, they are both left exasperated and unsatisfied. In the scene, Charlie epitomizes traditional feminist ideals of protection from the male gaze. Marnie is frustrated with Charlie’s sensitive sexual behavior. This reflects the concept of the suppression of female sexuality. This is in line with the post-feminist idea that the internalization of victimization impedes women from being sexual creatures. The women in the series are desirous for exploration and adventure. As such, the discussion between Marnie and Hannah embodies the postfeminist desire to reestablish the sexuality of women, replacing objectification with sexual subjectification.
The second wave feminist notions stand for a pessimistic view of sexuality and they highlight the dangers and disadvantages of sexual encounters for women. For instance, second wave feminists focus on themes as sexual abuse, sexually transmitted diseases, as well as sexual objectification of women in media discourse. For instance, radical feminists pointed to the effects of pornography on the increased number of rapes in the society. On the contrary, post feminism opposes these rigid ideas on sexuality. Instead, post feminism advances the fundamental female right to sexual pleasure, freedom, choice and fun (Leppert, 2014). This resulted to a shift from sexual objectification to sexual subjectification. Emphasis is placed on sexual subjectification, as women are portrayed as desiring, active, and liberal, in the post-feminist discourse. Marnie and Hannah are portrayed as liberated and adventurous, exhibiting post-feminist ideals.
In conclusion, post feminism can be considered a critical resistance to traditional feminist notions. The series, “Girls,” creates a discourse for post-feminist theory by redefining the naturalized notions of sexuality and femininity. As a result, post feminism breaks normative barriers regarding sexuality. By actively engaging post-feminist texts, new understandings of sexual relationships dynamics emerge. “Girls” portrays sexual liberation and choice, rejecting the old notions of feminism regarding censorship and objectification.
References
Dunham, L.(Producer). Sterling, D. (Director). Girls . United States. HBO Enterprises.
Leppert, A.(2014). Keeping up with the Kardashians. Feminist Media Studies .
Mulvey, Laura. (1999) “Visual Pleasure and Narrative Cinema.” Film Theory and Criticism : Introductory Readings. Eds. Leo Braudy and Marshall Cohen. New York: Oxford UP: 833-44
Richardson, N., Wearing, S. (2014). Gender in the Media . Palgrave Macmillan.
Roche, L.(2015). “Obvi We’re Ladies”: The Unruly Women of Postfeminist Television. A Thesis Submitted to the Faculty of San Diego State University.
Springer, K.(2007). Divas, Bitches and Evil Women . Duke University Press
