Helen Wood

Rachel Moseley

Helen Wheatley

Television for Women brings together emerging and established scholars to reconsider the question of ‘television for women’. In the context of the 2000s, when the potential meanings of both terms have expanded and changed so significantly, in what ways might the concept of programming, addressed explicitly to a group identified by gender still matter? The essays in this collection take the existing scholarship in this field in significant new directions. They expand its reach in terms of territory (looking beyond, for example, the paradigmatic Anglo-American axis) and also historical span. Additionally, whilst the influential methodological formation of production, text and audience is still visible here, the new research in Television for Women frequently reconfigures that relationship. The topics included here are far-reaching; from television as material culture at the British exhibition in the first half of the twentieth century, women’s roles in television production past and present, to popular 1960s television such as The Liver Birds and, in the twenty-first century, highly successful programmes including Orange is the New Black, Call the Midwife, One Born Every Minute and Wanted Down Under. This book presents ground-breaking research on historical and contemporary relationships between women and television around the world and is an ideal resource for students of television, media and gender studies.

New Directions

Television for Women

Joanne Hollows

Based on a diverse range of texts and sites, including: Bridget Jones, African-American music videos, news coverage, radio shows, the Scream trilogy, Sex and the City and hip hop the authors analyse how different meanings of feminism have been negotiated within popular culture and how popular culture has made sense of feminism.

Feminism in Popular Culture

Growing up with Audrey Hepburn is the first full-length academic study of one of the most loved stars of Hollywood cinema. A study of both Hepburn's star persona and films, it is also an audience study, using interviews to explore accounts given by British women who have admired her in the 1950s and 1960s, and, more recently, in the 1990s.

Rachel Moseley

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