A01=Jessica Ford
activism
aesthetics
affect
allyship
american television
audience
Author_Jessica Ford
authorship
black feminism
broadcast television
capitalism
casting
Category=ATJ
Category=ATJS
Category=ATMF
Category=ATY
Category=JBSF11
celebrity feminism
character
comedy
commodification
critique
culture
discourse
diversity
domestic space
drama
dramedy
empowerment
ensemble cast
eq_art-fashion-photography
eq_bestseller
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eq_nobargain
eq_non-fiction
eq_society-politics
extratextuality
female friendship
feminism
feminist audience
feminist media studies
feminist sensibility
feminist television
forthcoming
gender
genre
heteronormativity
history
identity
inclusion
industry
intersectionality
intertextuality
irony
journalism
law
liberal feminism
listicle
marketing
media culture
media feminism
melodrama
motherhood
narrative
negotiation
neoliberal feminism
orange is the new black
paratext
patriarchy
peak tv
performance
politics
postfeminism
prestige tv
production
promotion
quality television
queen sugar
queer
race
reception
representation
resistance
satire
scripted television
second wave feminism
serialization
sex and the city
sexuality
sisterhood
soap opera
social media
streaming television
television studies
the good wife
the handmaids tale
theorizing
trauma
us scripted tv
visibility
white feminism
whiteness
women
women centered television
women's labor
women's movement
women's representation
women's rights
women's stories
women's television
workplace
younger
zeba blay
Product details
- ISBN 9780252089770
- Dimensions: 152 x 229mm
- Publication Date: 17 Nov 2026
- Publisher: University of Illinois Press
- Publication City/Country: US
- Product Form: Paperback
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Starting in the 2010s, women played an increasingly prominent and complex role in the scripted television landscape of the United States. But did TV become more feminist in content and form? Or did the shows just seem more feminist because women took up more prominent positions?
Jessica Ford examines popular media's tendency to apply the feminist label to all women-centric TV. Focusing on the post-Sex and the City era that began in 2005, Ford explores how women-centric scripted TV absorbed the feminisms of its past. It now televises these feminisms in divergent, diffuse, and distinct ways that find expression as a sensibility rather than a cogent politic, genre, or category. Ford's analysis examines shows identified as feminist alongside programs that negotiate ideas, offer critiques, generate feelings and sentiments, and deploy aesthetics in both low-key and visible political ways.
Innovative and insightful, Televising Feminism looks at the construction and expression of the many feminisms at work on American scripted television.
Jessica Ford examines popular media's tendency to apply the feminist label to all women-centric TV. Focusing on the post-Sex and the City era that began in 2005, Ford explores how women-centric scripted TV absorbed the feminisms of its past. It now televises these feminisms in divergent, diffuse, and distinct ways that find expression as a sensibility rather than a cogent politic, genre, or category. Ford's analysis examines shows identified as feminist alongside programs that negotiate ideas, offer critiques, generate feelings and sentiments, and deploy aesthetics in both low-key and visible political ways.
Innovative and insightful, Televising Feminism looks at the construction and expression of the many feminisms at work on American scripted television.
Jessica Ford is a senior lecturer in media at Adelaide University, Australia.
