Full Description
In Pop & Postfeminism, Nathalie Weidhase conceptualises the female dandy as a figure that simultaneously embodies and disrupts postfeminist notions of femininity, including maintaining a physique conforming to contemporary beauty standards, constant self-surveillance and self-improvement, and the naturalisation of gender difference and heterosexuality.
Weidhase examines how music videos function as spaces in popular culture where the politics of the feminine can be articulated. These spaces allow female pop stars to be valued as artists with distinct contributions to popular music. Focusing on Amy Winehouse, Rihanna, Lady Gaga, and Lana Del Rey, she illuminates different characteristics of the postfeminist dandy in popular music. Amy Winehouse's work makes visible the commodification of the female spectacle in popular culture, highlighting how her image and persona were marketed and consumed. Rihanna performs black femininity as postfeminism's abject Other. Lady Gaga queers monstrous motherhood and celebrates female musical lineage. Lana Del Rey's work demonstrates how whiteness operates as a canvas for postfeminist and post-racial fantasies, offering a platform for their deconstruction and critique.
Weidhase's analysis provides a comprehensive understanding of how these pop stars navigate and challenge the intricate landscape of postfeminism, offering a nuanced perspective on contemporary femininity and its representations in popular culture.
Contents
Introduction - Why Dandyism?
1. Postfeminist Dandyism in Context
2. Amy Winehouse: Commodifying the Female Spectacle
3. Rihanna: Black Femininity as Postfeminism's Abject Other
4. Lady Gaga: Queer Motherhood, Kinship and Musical Reproduction
5. Lana del Rey: Dandyism, Postfeminism and the Nation
6. The Postfeminist Dandy and Popular Culture
7. The Postfeminist Dandy and Audiovisual Culture
Conclusions
Bibliography
