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TELEVISION FOR WOMEN

Television for Women brings together emerging and established scholars to reconsider
the question of ‘television for women’. In the context of the 2000s, when the
potential meanings of both terms have expanded and changed so significantly, in
what ways might the concept of programming addressed explicitly to a group
identified by gender still matter?
The essays in this collection take the existing scholarship in this field in significant
new directions. They expand its reach in terms of territory (looking beyond, for
example, the paradigmatic Anglo-American axis) and also historical span. Additionally,
while the influential methodological formation of production, text and audience is still
visible here, the new research in Television for Women frequently reconfigures that
relationship.
The topics included here are far-reaching; from television as material culture at
the British exhibition in the first half of the twentieth century, to women’s roles in
television production past and present, to popular 1960s television such as The Liver
Birds and, in the twenty-first century, highly successful programmes including
Orange is the New Black, Call the Midwife, One Born Every Minute and Wanted Down
Under.
This book presents ground-breaking research on historical and contemporary
relationships between women and television around the world and is an ideal
resource for students of television, media and gender studies.

Rachel Moseley is Director of the Centre for Television History, Heritage and
Memory Research in the Department of Film and Television Studies at the Uni-
versity of Warwick, UK. She has published widely on popular television and film,
with a particular interest in questions of history, address and representation. She is
the author of Hand-Made Television: Stop-Frame Animation for Children in Britain,
1961–1974 (2016).
Helen Wheatley is Associate Professor (Reader) in Film and Television at the
University of Warwick, UK and co-founder of the Centre for Television History,
Heritage and Memory Research. She has published widely on television history and
aesthetics and is the author of Gothic Television (2006) and Spectacular Television:
Exploring Televisual Pleasure (2016). She is also editor of Re-viewing Television History:
Critical Issues in Television Historiography (2007).

Helen Wood is Professor of Media and Communication at the University of

Leicester, UK and has published widely on television, audiences, class and gender.
She is author of Talking with Television (2009) and, with Beverley Skeggs, Reacting to
Reality Television (2012); she has also edited Reality Television and Class with Beverley
Skeggs (2011) and is editor of the European Journal of Cultural Studies.
TELEVISION FOR
WOMEN
New Directions

Edited by Rachel Moseley, Helen Wheatley

and Helen Wood
First published 2017
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
711 Third Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
Ó 2017 Rachel Moseley, Helen Wheatley and Helen Wood for selection
and editorial matter; individual contributions the contributors
The right of Rachel Moseley, Helen Wheatley and Helen Wood to be
identified as the authors of the editorial material, and of the authors for their
individual chapters, has been asserted in accordance with sections 77 and 78
of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or
utilised in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in
any information storage or retrieval system, without permission in writing
from the publishers.
Trademark notice: Product or corporate names may be trademarks or
registered trademarks, and are used only for identification and explanation
without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
Names: Moseley, Rachel, editor of compilation. | Wheatley, Helen, 1974-
editor of compilation. | Wood, Helen, editor of compilation.
Title: Television for women : new directions/edited by Rachel Moseley,
Helen Wheatley and Helen Wood.
Description: London; New York: Routledge, 2017. | Includes
bibliographical references.
Identifiers: LCCN 2016021584 | ISBN 9781138914285
(hardback: alk. paper) | ISBN 9781138914292 (pbk.: alk. paper) |
ISBN 9781315690896 (ebook)
Subjects: LCSH: Women on television. | Women’s television programs. |
Television and women–History.
Classification: LCC PN1992.8.W65T45 2017 | DDC 791.45/6522–dc23
LC record available at https://lccn.loc.gov/2016021584

ISBN: 978-1-138-91428-5 (hbk)

ISBN: 978-1-138-91429-2 (pbk)
ISBN: 978-1-315-69089-6 (ebk)

Typeset in Bembo
by Sunrise Setting Ltd, Brixham, UK
To our children, in the order they arrived during the
Television for Women project: Rudy, Dora, Max, Ned,
Arthur and Hannah
CONTENTS

List of illustrations x
Preface xi
Acknowledgements xii
List of contributors xiii

Introduction: Television for women – what new

directions? 1
Rachel Moseley, Helen Wheatley and Helen Wood

PART I
Women and work 13

1 Women’s history, women’s work: popular television as

feminine historiography 15
Moya Luckett

2 The feminisation of contemporary British television drama:

Sally Wainwright and Red Production 34
Ruth McElroy

3 ‘Women pushed their way forward and became quite

a force within the BBC’: women’s roles in television
production and the production of programmes
for women 53
Vanessa Jackson
viii Contents

PART II
Women and identity 71
4 Catfight! Camp and queer visibility in Orange is the New Black 73
Dana A. Heller

5 Brown girls who don’t need saving: social media and the role
of ‘possessive investment’ in The Mindy Project and The Good Wife 90
Sujata Moorti

6 Watching One Born Every Minute: negotiating the terms of

the ‘good birth’ 110
Sara De Benedictis

7 Sex, class and consumerism: British sitcom’s negotiation of

the single girl 128
Vicky Ball

PART III
Formations of women’s television 149

8 Feminist television or television for women? Revisiting

the launch of Canada’s Women’s Television Network 151
Sarah A. Matheson

9 Tradition and innovation: Italian women’s channels, factual

entertainment and the significance of generation in women’s
viewing preferences 167
Cecilia Penati and Anna Sfardini

10 Producing domestic abuse in Pakistani television:

between commerce, ratings and social responsibility 183
Munira Cheema

PART IV
Women and the home 203

11 Television in the ideal home 205

Helen Wheatley

12 ‘I’ve been having fantasies about Regan and Carter three

times a week’: television, women and desire 223
Hazel Collie
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 Contents ix

13 Dreaming of the ‘good life’: gender, mobility and anxiety

in Wanted Down Under 241
Jilly Boyce Kay and Helen Wood

Index 256
ILLUSTRATIONS

Figures
2.1 Sergeant Catherine Cawood (Sarah Lancashire) strides into
action with junior sidekick WPC Kirsten McAskill (Sophie Rundle) 47
3.1 BBC Birmingham, Pebble Mill building 2003, photograph by
Benedict Peissel 56
7.1 The Liver Birds: celebrating female friendship on British television 136
13.1 Participants express their preference for a life in either Australia
or the UK through ‘voting’ with laminated flags 244
13.2 In the ‘Reality Check’ section of Wanted Down Under,
participants must calculate the costs of everyday life in Australia
to test whether their dream is tenable 249

Tables
6.1 Text-in-action session 1 119
6.2 Text-in-action session 2 121
PREFACE

The question of television for women

‘Television for women’, as a category, must always be a matter of debate. Each word
of the three is much trickier than it may seem at first glance. If the obvious questions
are ‘which women?’ and ‘what is television in the twenty-first century?’, there are
also questions about the very constitution of the category. For it is a category of
address, condensed in the single preposition, ‘for’, and textual address can be very
difficult to specify. The notorious twentieth-century advertising-industry shorthand
for a certain genre of commercial, ‘2 Cs in a K’ (‘two cunts in a kitchen’), referred to
ads that both featured and were aimed at women. This was television for women
which understood women as the main purchasers of cleaning and food goods, and
situated them within the domestic – in the ‘K’, to be precise. But the Cs aren’t only to
be found in the K, and often watch and enjoy television which addresses its audiences
quite differently. Nor is gender, in identity and representation, ever just gender. The
Cs aren’t just Cs: their dress, appearance, deportment, language, and the accoutre-
ments of their kitchens will tell other stories about age, social class, desire, ethnicity
and nationality. The determinants of identity are complex and imbricated with each
other. Some television may be produced primarily ‘for’ a female audience, but that
‘for’ does not predict how that audience is conceived, who will respond to that
solicitation or how the programming will be watched.
The trickiness of the category ‘television for women’ is also its appeal. It’s a baggy,
permeable category which can be disputed and challenged, and in those challenges
much can be revealed about the history of television production, representation,
criticism and taste cultures. And that’s what this book seeks to do. This collection
traces some of these complexities, some of its histories and some of the surprises of
exploring what ‘television for women’ has been, is and might be.
Charlotte Brunsdon, May 2016
ACKNOWLEDGEMENTS

We would like to thank researchers Mary Irwin and Hazel Collie for all the work they
put into the AHRC project ‘A History of Television for Women in Britain’ (AH/
F017251/1) and for making it the success that it was. Thank you to the University of
Warwick for funding the initial workshop that led to the setting up of the project, and
all the participants who attended this and inspired our work: Charlotte Brunsdon,
Christine Geraghty, Ann Gray, Joke Hermes, Michele Hilmes, Dorothy Hobson,
Joanne Hollows, Deborah Jermyn and Janet Thumim. Thanks also to De Montfort
University who funded a PhD project around the history of feminism on television,
completed by Jilly Kay in 2015. Thank you to those who helped with various other
aspects of the project: to our colleagues in Research Support Services at the
University of Warwick who supported us throughout the project’s life (Liese Perrin,
Katie Klaassen, David Duncan and Nadine Lewycky), to the Phoenix Arts Centre in
Leicester and the BFI Southbank for helping us to host events on ‘Career Girls on
Television’ and to Laura Elliot at Coventry Arts Space for enabling our ‘Pop Music
TV Pop-Up Shop’. Of course we want to thank all those who attended those events,
wrote valuable comments and invigorated our interest in television for women as
cultural heritage. Thank you too to Kate Kinninmont and Tony Ageh for supporting
the project and speaking at our final event. We would also like to thank colleagues at
the Universities of Warwick, De Montfort and Leicester who supported us during
the life of the project and beyond. Many thanks to all our contributors for bearing
with us, and special thanks to Jilly Kay for her hard work in helping to prepare the
manuscript.
And finally to our families, who have literally come into being and grown during
the life of this project – you are amazing.
Rachel, Helen and Helen
CONTRIBUTORS

Vicky Ball is Senior Lecturer in Cinema and Television Histories, De Montfort

University. She has published articles on gender and British television drama and is
currently writing a book about the British female ensemble drama (Manchester
University Press, 2017). She is co-investigator on the AHRC-funded project
‘Women’s Work, Working Women: A Longitudinal Study of Women Working in the
Film and Television Industries (1933–1989)’ and a member of the Committee of the
Women’s Film and Television Histories Network: UK/Ireland.

Munira Cheema holds a PhD in Media and Cultural Studies from the University of
Sussex, where she also works as an Associate Tutor. She is also a Visiting Lecturer in
Media, Culture and Language at the University of Roehampton. Her research
interests include politics/representation of gender in South Asia, gendered citizen-
ship and religion and the evolution of the mediated public sphere in Pakistan. Her
forthcoming book, entitled Women and TV Culture in Pakistan: Islam, Gender and
Nationhood, will be published by I.B.Tauris in 2017.

Hazel Collie is a Lecturer in Media Theory at Birmingham City University. Her

research focuses on historical audiences, feminine cultures and the relationships that
audiences enact with and through television.

Sara De Benedictis is an ESRC-funded PhD student in the Department of

Culture, Media and Creative Industries at King’s College London. Her thesis
explores representations of and reactions to birth in British popular culture. Sara
will soon begin a research associate/fellow position at the University of Not-
tingham to work on a Wellcome-funded project on televising childbirth. Sara’s
research interests include birth, class, reality television, television production and
austerity.
xiv Contributors

Dana A. Heller is Eminent Scholar and Interim Dean of the College of Arts &
Letters at Old Dominion University. She writes about film and television, has
authored numerous articles on topics related to literature, popular culture, LGBT
and American studies, and is the author/editor of eight books, most recently
Hairspray (Wiley-Blackwell, 2011) and Loving The L Word: The Complete Series
in Focus.

Vanessa Jackson is a former BBC series producer, and now course director of
the BA (Hons) Media and Communication and degree leader of Television at
Birmingham City University, teaching practical television production skills to
undergraduates. Her research interests include the history of television, as well as the
uses of social media in community history projects.

Jilly Boyce Kay is a Research Associate in the Department of Media and Com-
munication at the University of Leicester. Her work on gender, class, television and
media has been published in journals such as Feminist Media Histories, Critical Studies in
Television, Social Movement Studies and Journalism: Theory, Practice and Criticism.

Moya Luckett teaches at NYU’s Gallatin School of Individualized Study. She is the
author of Cinema and Community: Progressivism, Exhibition and Film Culture in Chicago,
1907–1917 (Wayne State University Press), and is currently writing two books: Not
Quite New Media: Celebrity, Social Mobility and the Historiography of Media Transition
and Femininity in Popular Media. Her essays on femininity, early film, television his-
tory, British cinema and celebrity have been widely anthologised and have appeared
in Screen, Feminist Media Studies, The Velvet Light Trap and Aura.

Ruth McElroy is Reader in Media and Cultural Studies at the University of South
Wales where she is Director of the Creative Industries Research Institute. Her
research interests centre on the mediation of national, classed and gendered identities
in contemporary television. She is co-editor of Life on Mars: From Manchester to New
York (2012, University of Wales Press) and has published in journals such as Critical
Studies in Television, Television and New Media and the Journal of Popular Television. She
is editor of a forthcoming collection on Contemporary British Television Crime Drama
(Routledge, 2016) and is Principal Investigator on an AHRC international network
on television production in small nations.

Sarah A. Matheson is Associate Professor in the Department of Communication,

Popular Culture and Film at Brock University in St. Catharines, Ontario, Canada.
She is co-editor of Canadian Television: Text and Context and has published widely in
the area of Canadian television studies. Her work has appeared in journals such as the
Canadian Journal of Film Studies and Film and History and in anthologies such as
Programming Reality: Perspectives on English–Canadian Television, Parallel Encounters:
Culture and the Canada–US Border and Detecting Canada: Essays on Canadian Detective
Fiction, Film, and Television.
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