By D. Strinati
This advent to renowned media tradition in Britain discusses the ways that pop culture could be studied, understood and liked, and covers its key analytical concerns and a few of its most crucial strategies.
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Extra resources for Come on Down?: The Politics of Popular Media Culture in Post-War Britain
But they continue, as they have done since the war, to support an ideology of women’s paid work as marginal to their ‘femininity’. The romance novel continues to negotiate and to support a discourse of the working woman as a temporary phenomenon, in which their heroines can slide between the public and the private workplace, between the professional and the domestic, with no discernable contradiction. If it is the case, as Alan Sinfield argues, that fiction offers ‘constructions of conceivable lives…interpretations and evaluations of perceived possibilities in the real world….
If mass market popular fiction, and Mills & Boon romances especially, do ultimately reaffirm the status quo, this may well explain their commercial success. The romance novel acts as a reassurance that happiness for women is achievable without fundamental change or disruption. The ‘blockbuster’ of the Jackie Collins mode offers its women readers the chimera of ‘success’, a version of ‘feminist’ achievement within the frames that are already in place, while the Mills & Boon romance, less financially ambitious, offers happy marriage as the pinnacle of female aspiration.
For some, though, this home-centredness equates with new forms of deprivation: you can be trapped in a home-based lifestyle ‘by poverty, and as a result of local communal facilities—cinemas, sports teams and pubs— either declining or disappearing completely’. The second trend identified by Roberts is out-of-home recreation: in, primarily, participant sport and tourism. But Roberts quite rightly emphasizes that this is a trend only for some, and for many people any out-ofhome option remains very limited.