ABSTRACT: Adapted from Todd Haynes's perspective, James M. Cain's ironical take on a woman's desire for power in Mildred Pierce turns into a self-reflexive drama about the politics of postfeminism. This article shows how the HBO miniseries dramatizes the conflicting politics of feminism and postfeminism through the generational conflicts between mother and daughter. When Mildred Pierce fights for economic independence and embodies the struggles of second-generation feminists, Veda's social-class snobbism makes her an icon of the postfeminist culture that thrives in neoliberal times. Mildred Pierce is ultimately a sardonic reflection on the elitist nature of a miniseries produced for the culturally elitist audience of HBO, exploring the conflicting relationship between art and business through the strained relationship between mother and daughter in the adaptation.

中文翻译：

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后女权主义时代的温德·皮尔斯（Mildred Pierce）评论（Todd Haynes，HBO，2011）

摘要：从托德·海恩斯（Todd Haynes）的角度出发，詹姆斯·凯恩（James M. Cain）对女性对《权力的渴望》（Mildred Pierce）的渴望的讽刺意味变成了关于后女权主义政治的自我反省的戏剧。本文展示了HBO迷你剧如何通过母女之间的代际冲突来戏剧化女权主义和后女权主义的冲突政治。当米尔德瑞德·皮尔斯（Mildred Pierce）争取经济独立并体现第二代女权主义者的斗争时，韦达的社会阶级势利主义使她成为后新自由主义时代兴旺的后女权主义文化的标志。米尔德瑞德·皮尔斯（Mildred Pierce）最终讽刺了为HBO的文化精英观众制作的迷你剧的精英主义本质，