Van snyerspak tot voorskoot : analise van die veranderinge in feminisme en uitbeeldings van vroulikheid in hedendaagse televisie vanaf 1997 tot vandag (Afrikaans)

Abstract

AFRIKAANS: Die teenwoordigheid van vroue in die massamedia, en spesifiek in televisie, is vroeg in die een-en-twintigste eeu groter as ooit vantevore. Reekse waarin uitbeeldings van vroue beperk was tot dié van meestal onderontwikkelde, periferale of sekondêre karakters, is iets van die verlede. Die wyse waarop vroue in televisie uitgebeeld word is dus uiters belangrik aangesien so ’n groot hoeveelheid televisiereekse spesifiek die vrouegehoor teiken wat, hetsy aktief of passief, met wat hulle in hierdie reekse sien omgaan. Boodskappe wat deur televisiereekse versprei word, sal waarskynlik onbewustelik ’n uitwerking hê op hoe vroue hulleself beskou, hoe hulle ander vroue beskou, sowel as op hulle houding jeens kwessies soos feminisme en vroulikheid. Die doel van hierdie studie is om dominante diskoerse oor feminisme en vroulikheid wat deur hedendaagse televisiereekse aan die samelewing voorgehou word, te ondersoek. Die studie konsentreer spesifiek op drie gewilde en veelbekroonde Amerikaanse televisiereekse van 1997 tot 2012, naamlik Ally McBeal (Kelley 1997- 2002), Sex and the City (Starr 1998-2004) en Desperate Housewives (Cherry 2004- 2012) – reekse wat al drie as sogenaamde zeitgeist-televisie beskryf kan word. Die artikulering van feministiese doelstellings, hetsy dié afkomstig uit die tweede generasie of uit meer onlangse bewegings in feminisme, val onder die soeklig en die wyse waarop hierdie doelstellings aangespreek word, word bespreek. Deur aspekte wat teoreties nóύ verband hou met feminisme (aspekte soos melodrama as ’n vroulik-geïdentifiseerde genre en verbruikerswese) te identifiseer, word daar aangvoer dat die drie reekse beslis in ’n feministiese sfeer geposisioneer is. Die teenwoordigheid van hierdie aspekte in die drie reekse het dan ook dieperliggende narratiewe oor feminisme blootgelê – narratiewe waarvan die alledaagse kyker waarskynlik nie bewus sal wees nie, maar wat onderbewustelik moontlik ’n invloed kan hê op kykers se denke oor en begrip van feminisme. Die belangrikste gevolgtrekking van hierdie studie is dat die drie gekose televisiereekse op verskillende en uiteenlopende wyses met feminisme en vroulikheid omgaan. Verder ondersteun die studie die uitgangspunt dat daar ’n behoefte is aan kritiese debat rakende die uitbeeldings van feminisme en vroulikheid in hedendaagse voorbeelde van populêre massamedia. ENGLISH: The presence of women in mass media, specifically in television, in the twenty-first century is larger than ever and the days of series featuring women that are generally underdeveloped, peripheral or secondary characters is a thing of the past. The way in which females are portrayed in television is thus of the utmost importance since such a large number of television series cater to an extensive female audience, who engage (whether actively or passively) with that which they see. Messages received from popular television series are likely to inadvertently have an effect on how women view themselves, how they view other women, as well as their attitudes towards issues like feminism and femininity. The purpose of this study is to examine dominant discourses on feminism and feminity that are being propagated by contemporary television series. The specific focus of the study falls on three highly successful and critically acclaimed television series running from 1997 until 2012, namely Ally McBeal (Kelley 1997-2002), Sex and the City (Starr 1998-2004) and Desperate Housewives (Cherry 2004-2012) – series that have all been described as so-called Zeitgeist television. The articulation of feminist goals, whether from the second wave or more recent feminist movements, is examined and the ways in which these goals are addressed are discussed. By identifying aspects that are theoretically related to feminism (aspects like melodrama as a female identified genre and consumerism), it is argued that these three series are definitely positioned in a feminist sphere. The presence of these aspects also uncovered deep-seated feminist narratives – narratives that the everyday audience member will most likely not be aware of, but which could unconsciously influence viewers’ thoughts on and understanding of feminism. The main conclusion of this study entails that the three chosen television series deal with feminism and femininity in very different and diverse ways. Furthermore, the study supports the view that there is a need for critical debates on the representation of feminism and femininity in contemporary examples of popular mass media