Disconnected Heroines, Global Femininities
- Submitting institution
-
Birkbeck College
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 2016
- Type
- T - Other
- DOI
-
-
- Location
- -
- Brief description of type
- Multicomponent output
- Open access status
- Out of scope for open access requirements
- Month
- -
- Year
- 2020
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
-
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- Yes
- Additional information
- Disconnected Heroines, Global Femininities is a multi- and interdisciplinary research project which asks questions about the geopolitics of representing women within transnational TV Studies. This study in cultural theory looks at contemporary transnational television culture and advances an encounter informed by feminism(s) and feminist theory.
I wrote ‘Disconnected Heroines, Icy Intelligence’ to reorient the debate, which emphasised defining Nordic noir as a TV sub-genre (with the female detective as but one feature). Combining feminist theories with cultural and production studies, my argument about the entangled sexual politics represented through these ambiguous female characters led to new insights about the politics of female subjectivity on TV, as well as how important 'she' was for a national public service broadcaster from a small nation with global ambitions.
My ideas about how a representational politics translated into different television territories were adopted elsewhere (including the 2018 special issue of Television and New Media 19(6), debating the female detective and sexual violence/crime against women, with leading feminist TV scholars).
While these different approaches were taking my ideas in new disciplinary directions, a compare and contrast logic had emerged, which overlooked the material conditionality crafting the different representational forms in global circulation. In response I worked through the material dynamics of my original hypotheses, in collaboration with Prof. Catherine Grant, with a series of audio-visual essays which brought the different frames of representation together--geographically distinct, produced by discrete production cultures, located in different times--which refined my theories about producing female representation and performed the argument within, across and between the split screens and combinative sequencing of the various iterations of the scripted format.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -