Series y heroínas feministas. Hacia una nueva edad dorada de la televisión

  1. Laura García Díaz 1
  1. 1 Universidad de La Laguna
    info

    Universidad de La Laguna

    San Cristobal de La Laguna, España

    ROR https://ror.org/01r9z8p25

Journal:
Cuadernos del Centro de Estudios en Diseño y Comunicación. Ensayos

ISSN: 1853-3523,  1668-0227

Year of publication: 2023

Issue Title: El camino de la heroína en las fronteras de la hipermedia

Issue: 202

Pages: 163-176

Type: Article

DOI: 10.18682/CDC.VI202.9829 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

More publications in: Cuadernos del Centro de Estudios en Diseño y Comunicación. Ensayos

Abstract

Over the years, we have witnessed different golden ages of television, and in each of them, women have been represented in a different way. With the appearance of video-on-demand platforms, women have gained more prominence in the stories. This is due to the fact that we have more and more women behind the cameras, the number of stories written and directed by women being especially relevant. This work aims to analyze the way in which a new heroine model has been configured in fictional series. To do this, we will make an approach of the most important eras of television fiction that will allow us to analyze how, in each of them, the point of view of women has been characterized in a different way. I will begin by analyzing the contributions of Simone de Beauvoir in The Second Sex, a work that provides a key idea to interpret the symbolic violence that has been exercised against women in the stories. De Beauvoir pointed out that in stories and myths women have always been defined as other. This will allow us to understand that, traditionally, women have been represented from the point of view of men, something that she points out in myths and literary stories but that we can also transfer to film stories, which for so long have been led by men and where heroism was a masculine characteristic. It is currently when women begin to be represented with greater realism. We are in a moment in which heroism is reconfigured and given new meaning. Perspective, Ortega tells us, is the order and form that reality takes for the one who contemplates it. I propose to understand that if the place that the viewer occupies varies, so will his perspective. This definition will help us to introduce how television series represent an approach to the point of view taken by feminist theory. The problems that the feminist movement drags on are mainly due to being a matter of alterity: the woman is the eternal other that man has repressed or that he has even defined. For this reason, it is especially interesting to observe how in some television series created, directed or starring women, it is possible, through an endless number of stories and contexts, to show content from feminist theory by adopting the perspective from which the gender perspective focus reality. In this way, we will see how in television series a heroine model is developed in which the new struggles of feminism are incorporated, as well as the new complexities associated with sexuality, gender, or even the family. In short, through this theoretical approach and taking as an example some of the most significant series from the different “golden ages” of television, this work aims to point out how a heroin model has been progressively built that is characterized by being in line with the gender studies and current feminist struggles. This is important given that not only is it possible to represent and reflect the point of view of women in society, but it is about stories that also influence the lifestyles of the spectators and that allow us to observe a change in the way in which women are represented and perceived.

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Data source: Dialnet