000120159 001__ 120159
000120159 005__ 20240319081006.0
000120159 0247_ $$2doi$$a10.1080/14680777.2022.2137830
000120159 0248_ $$2sideral$$a131036
000120159 037__ $$aART-2022-131036
000120159 041__ $$aeng
000120159 100__ $$0(orcid)0000-0002-0663-0519$$aOria, Beatriz$$uUniversidad de Zaragoza
000120159 245__ $$aWomen on top? Challenging the “Mancession” narrative in the 2010s chick flick
000120159 260__ $$c2022
000120159 5060_ $$aAccess copy available to the general public$$fUnrestricted
000120159 5203_ $$aThe term “mancession” appeared after the economic crisis, spreading the false assumption that men were more affected by the recession than women. This discourse was fuelled across different US media outlets, including film. Some genres, such as the corporate melodrama, supported this rhetoric directly, while others did so more obliquely, as is the case of the chick flick, which pivoted to the trope of the successful working woman during the 2010s. While some contemporary films seem to pander to the myth of the “mancession” by showing women getting ahead in their careers while men fall implicitly or explicitly behind, this article argues that there is an increasing number of chick flicks that highlight sexism and gender inequality at the workplace, challenging postfeminist images of female success and empowerment. The essay analyzes how post-2008 (but pre-pandemic) working woman chick flicks downplay traditional concerns in the genre, such as romance, and open their scope to focus on women’s professional struggles, deploying the “mancession” narrative only to expose its contrivance, thus showing a greater feminist awareness than many of their predecessors often do.
000120159 536__ $$9info:eu-repo/grantAgreement/ES/DGA/H23-20R$$9info:eu-repo/grantAgreement/ES/MICINN/PID2020-114338GB-I00
000120159 540__ $$9info:eu-repo/semantics/openAccess$$aby-nc-nd$$uhttp://creativecommons.org/licenses/by-nc-nd/3.0/es/
000120159 590__ $$a1.7$$b2022
000120159 592__ $$a0.82$$b2022
000120159 591__ $$aWOMENS STUDIES$$b20 / 45 = 0.444$$c2022$$dQ2$$eT2
000120159 593__ $$aCommunication$$c2022$$dQ1
000120159 591__ $$aCOMMUNICATION$$b70 / 96 = 0.729$$c2022$$dQ3$$eT3
000120159 593__ $$aVisual Arts and Performing Arts$$c2022$$dQ1
000120159 593__ $$aGender Studies$$c2022$$dQ1
000120159 594__ $$a3.0$$b2022
000120159 655_4 $$ainfo:eu-repo/semantics/article$$vinfo:eu-repo/semantics/publishedVersion
000120159 7102_ $$13004$$2345$$aUniversidad de Zaragoza$$bDpto. Filolog.Inglesa y Alema.$$cÁrea Filología Inglesa
000120159 773__ $$g23, 8 (2022), 3793-3808$$pFemi. media sutud.$$tFeminist media studies$$x1468-0777
000120159 8564_ $$s616715$$uhttps://zaguan.unizar.es/record/120159/files/texto_completo.pdf$$yVersión publicada
000120159 8564_ $$s855362$$uhttps://zaguan.unizar.es/record/120159/files/texto_completo.jpg?subformat=icon$$xicon$$yVersión publicada
000120159 909CO $$ooai:zaguan.unizar.es:120159$$particulos$$pdriver
000120159 951__ $$a2024-03-18-14:38:42
000120159 980__ $$aARTICLE