The musical number as feminist intervention in Crazy Ex-Girlfriend

Q2 Social Sciences
Jessica L. Ford, Phoebe Macrossan
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引用次数: 4

Abstract

In just four seasons, Rachel Bloom and Aline Brosh McKenna’s musical dramedy Crazy Ex-Girlfriend (2015-present) has established itself as an important space for contemporary explorations of gender and genre on US television. In this paper, we examine how the musical numbers operate as a feminist intervention into a postfeminist diegesis. The musical numbers in Crazy Ex-Girlfriend often parody different popular music genres by simultaneously drawing attention to and subverting their conventions. In doing so, the series critiques the gender norms of traditionally patriarchal and heteronormative Hollywood musicals and misogynistic music videos. The Hollywood film musical genre is typically framed by a tension between the narrative and the numbers. The series exploits this tension to offer a feminist critique of how patriarchal neoliberal culture encourages women to invest in romantic love and postfeminist forms of appearance-based empowerment. This paper argues that the musical numbers in Crazy Ex-Girlfriend are a feminist space where the series critiques the postfeminist reality of its diegesis
《疯狂的前女友》中女性主义介入的音乐数字
蕾切尔·布鲁姆和阿琳·布罗什·麦肯纳的音乐喜剧《疯狂前女友》(2015年至今)仅仅播出了四季,就已经成为当代美国电视性别和类型探索的重要领域。在本文中,我们研究了音乐数字如何作为女权主义干预后女权主义叙事。《疯狂前女友》中的音乐数字经常模仿不同的流行音乐类型,同时引起人们的注意并颠覆它们的惯例。在此过程中,该系列批评了传统父权和异性恋规范的好莱坞音乐剧和厌恶女性的音乐视频中的性别规范。好莱坞的音乐电影类型通常是由叙事和数字之间的紧张关系构成的。该系列利用这种紧张关系,对父权新自由主义文化如何鼓励女性投资于浪漫爱情和基于外表的后女权主义形式的赋权提出了女权主义批评。本文认为《疯狂前女友》中的音乐数字是一个女权主义空间,该系列对其叙事的后女权主义现实进行了批判
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Australasian Journal of Popular Culture
Australasian Journal of Popular Culture Social Sciences-Cultural Studies
CiteScore
0.70
自引率
0.00%
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0
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