Buszek Pin-Up Or Pin Up Culture Summary
Pin-Up or Pin-Down?
Pin-Up Grrrls: Feminism, Sexuality, Popular Culture is a book written by Maria Elena Buszek that explains how third-wave feminists are taking back pin-up culture. This new pin-up culture is shown developing through a 150 year time span. Buszek examines old and new female sex symbols as well as the beginnings of this new revival of the pin-up genre. This book illustrates how women are often publicly depicted and the representation of our sexualities since the early 1860’s. Buszek makes an argument that women dressed in dominatrix gear are complex and even revolutionary for female sexuality rather than being interpreted as mere representations that objectify women. This is a captivating book where Buszek enthusiastically weaves academia with testimony to make a brilliant argument that third-wave feminism should not be …show more content…
32). Calling card collections of these girls were found in bourgeois households. These cards had still-images of flirtatious feminine actresses. At the same time, the first wave of feminism was developing. In 1894, Sarah Grand coined the idea “new woman” as a model of the female active in the public eyes, “from suffragists to anarchists to flappers” (pg. 78). Buszek said that she, the “New woman”, was white, rather than Latin or African-American. Depictions of the New Woman showed white middle-class women many different powerful, strong, and desirable poses. The hand-drawn pieces of art have become the prototype for the now modern pin-up style: feminine and idealistic, yet free and strong. Frances Benjamin Johnston, a photographer during this era, modeled straight or lesbian women for his portraits (pg. 22). In the early twentieth century, the New Woman was depicted everywhere – the American theatres and Hollywood film – the consumption of these images was so great that fanzines appeared, such as Photoplay started to
Pin-Up Grrrls: Feminism, Sexuality, Popular Culture is a book written by Maria Elena Buszek that explains how third-wave feminists are taking back pin-up culture. This new pin-up culture is shown developing through a 150 year time span. Buszek examines old and new female sex symbols as well as the beginnings of this new revival of the pin-up genre. This book illustrates how women are often publicly depicted and the representation of our sexualities since the early 1860’s. Buszek makes an argument that women dressed in dominatrix gear are complex and even revolutionary for female sexuality rather than being interpreted as mere representations that objectify women. This is a captivating book where Buszek enthusiastically weaves academia with testimony to make a brilliant argument that third-wave feminism should not be …show more content…
32). Calling card collections of these girls were found in bourgeois households. These cards had still-images of flirtatious feminine actresses. At the same time, the first wave of feminism was developing. In 1894, Sarah Grand coined the idea “new woman” as a model of the female active in the public eyes, “from suffragists to anarchists to flappers” (pg. 78). Buszek said that she, the “New woman”, was white, rather than Latin or African-American. Depictions of the New Woman showed white middle-class women many different powerful, strong, and desirable poses. The hand-drawn pieces of art have become the prototype for the now modern pin-up style: feminine and idealistic, yet free and strong. Frances Benjamin Johnston, a photographer during this era, modeled straight or lesbian women for his portraits (pg. 22). In the early twentieth century, the New Woman was depicted everywhere – the American theatres and Hollywood film – the consumption of these images was so great that fanzines appeared, such as Photoplay started to