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Looking at popular culture from 1980 to the present, feminism appears to be «over»: that is, according to popular critics we are in an era of «postfeminism» in which feminism has supposedly already achieved equality for women. Not so, says Sarah Projansky. In Watching Rape, Projansky undermines this complacent view in her fascinating and thorough analysis of depictions of rape in U.S. film, television, and independent video. Through a cultural studies analysis of such films as Thelma and Louise, Daughters of the Dust, and She's Gotta Have It, and television shows like ER, Ally McBeal, Beverly Hills 90210, and various made-for-tv movies, Projansky challenges us to see popular culture as a part of our everyday lives and practices, and to view that culture critically. How have media defined rape and feminism differently over time? How do popular narratives about rape also communicate ideas about gender, race, class, nationality, and sexuality? And, what is the future of feminist politics, theory, and criticism with regard to issues of sexual violence, postfeminism, and popular media? The first study to address the relationship between rape and postfeminism, and one of the most detailed and thorough analyses of rape in 25 years, Watching Rape is a crucial contribution to contemporary feminism.

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Winner of the 2015 Bonnie Ritter Book Award from the National Communication Association As an omnipresent figure of the media landscape, girls are spectacles. They are ubiquitous visual objects on display at which we are incessantly invited to look. Investigating our cultural obsession with both everyday and high-profile celebrity girls, Sarah Projanskyuses a queer, anti-racist feminist approach to explore the diversity of girlhoods in contemporary popular culture.The book addresses two key themes: simultaneous adoration and disdain for girls and the pervasiveness of whiteness and heteronormativity. While acknowledging this context, Projansky pushes past the dichotomy of the “can-do” girl who has the world at her feet and the troubled girl who needs protection and regulation to focus on the variety of alternative figures who appear in media culture, including queer girls, girls of color, feminist girls, active girls, and sexual girls, all of whom are present if we choose to look for them. Drawing on examples across film, television, mass-market magazines and newspapers, live sports TV, and the Internet, Projansky combines empirical analysis with careful, creative, feminist analysis intent on centering alternative girls. She undermines the pervasive “moral panic” argument that blames media itself for putting girls at risk by engaging multiple methodologies, including, for example, an ethnographic study of young girls who themselves critique media. Arguing that feminist media studies needs to understand the spectacularization of girlhood more fully, she places active, alternative girlhoods right in the heart of popular media culture.

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