By Peter Bjelskou
Branded girls in U.S. tv examines how the true Housewives of latest York urban, Martha Stewart, and different girl marketers create branded televised models of the long-lasting U.S. housewife. utilizing their tv presence to set up and advertise their very own product traces, together with jewellery, cookware, garments, and skin care, they develop into the first actual representations of those manufacturers. whereas their companies are severe and heavily profitable, in particular truth tv allows a undeniable representational flexibility that permits members to create campy and occasionally tongue-in-cheek personas. Peter Bjelskou explores their leading edge branding options, in particular the complicated relationships among their entrepreneurial endeavors and their actual our bodies, attires, tastes, and private histories. in general those branded girls communicate volumes approximately their contemporaneous political environments, and this publication illustrates how they, and plenty of different ladies in U.S. tv background, are indicative of bigger societal tendencies and buildings.
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Extra resources for Branded Women in U.S. Television: When People Become Corporations (Critical Studies in Telivision)
62 Yet there are moments of emotional identification on the show; judging from online fan blogs, viewers simultaneously enjoy the over-the-top performances of the housewives (name any spectacular fight) and connect with the momentary emotional reality, for example, Bethenny’s desire to move in with her then-boyfriend and his refusal to discuss it on camera. 63 The housewives are read simultaneously as emotional wrecks, savvy entrepreneurs, narcissists, and role models. A HUNGER FOR THE PROPER BODY Bethenny Frankel’s Skinnygirl brand and Jill Zarin’s Skweez Couture encourage women to slim down by eating less, exercising more, and by tucking excess fat to adhere to conventional Western notions of beauty.
Today’s housewife offers cultural inclusion through patterns of consumption, and this hypercommercial representation is reminiscent of dominant gender representations in 1940s and 1950s mass media. This chapter examines the relationship between those versions of hegemonic femaleness and their contemporaneous political moment, to illustrate how popular culture promoted behavior that supported the dominant political ideology. Certainly, the current dominance of branded individuals echoes the inclusion of sponsored consumer products during the golden age of television.
See, for example, Tania Lewis, Smart Living: Lifestyle Media and Popular Expertise (New York: Peter Lang Publishing, 2008). 4. Countess LuAnn de Lesseps, Class with the Countess: How to Live with Elegance and Flair (New York: Gotham, 2009), 11. 5. Season 4, episode 15, The Real Housewives of New York City, Bravo TV (NY: New York City, July 14, 2011), iTunes. 6. See, for example, the forthcoming anthology on the Real Housewives phenomenon, edited by Rachel Silverman. 7. Communications scholar Shana Heinricy describes how television confers a certain level of authority on the “experts” hosting or headlining a show (for example, the plastic surgeon on Dr.
Branded Women in U.S. Television: When People Become Corporations (Critical Studies in Telivision) by Peter Bjelskou