当前位置: X-MOL 学术Screen › 论文详情
Our official English website, www.x-mol.net, welcomes your feedback! (Note: you will need to create a separate account there.)
Climate and culture in The Pioneer Woman
Screen Pub Date : 2021-04-08 , DOI: 10.1093/screen/hjab007
Diane Negra

The kitchen is one of the sites in which midlife women whose bodies do not conform to post-feminist standards of attractiveness attain visibility. In the case of multimedia food personality Ree Drummond, her renown was initially secured by the proficient imaging of her food preparation, her children and her way of life on a remote Oklahoma ranch, first via social media and subsequently expanding onto television via the Food Network. Following on from the success of Drummond’s blog, The Pioneer Woman series came to television in 2011, showcasing her in the kitchen and on the ranch where she lives with her husband and four children. Alyxandra Vesey has observed that, ‘Since The French Chef's debut in 1963, food television has used the kitchen to negotiate the parameters of contemporary female celebrity’,11 and food television outlets have tended to consolidate the established celebrity of female chefs, cooks and business owners. These programmes also serve as an ‘aftermarket’ for the depreciated celebrity of former prime-time TV stars such as Valerie Bertinelli (Valerie’s Home Cooking) and Tiffani Thiesson (Dinner at Tiffani’s). Many forms of food television generate dramas of gender reassurance in which manliness and femininity are anchored to traditional signifiers in defiance of looming social changes. In keeping with this, and like many of its female-focused contemporaries, The Pioneer Woman conveys the sense that its host centres and stabilizes the family through her position in the kitchen. Shows like The Pioneer Woman, I suggest, can also be productively understood as forms of regionalized property television, staging domestic display and the accumulation of consumer goods, as well as demonstrating the stability of traditional ways of life in the USA (figure 1). In this sense The Pioneer Woman’s opposite number is Guy Fieri’s Diners, Drive-Ins and Dives, the series discussed by Tisha Dejmanee in this dossier, in which the male host tours a faded national landscape in a vintage convertible, discovering culinary gems that represent the persistence of small business enterprise in the USA.

中文翻译:

《先锋女子》气候和文化

厨房是中年女性身体不符合女权主义后的吸引力标准的场所之一。对于具有多媒体美食个性的里德·德拉蒙德(Ree Drummond)而言,她的声誉最初是通过在遥远的俄克拉荷马州牧场上对食物准备,孩子和生活方式的熟练掌握而获得的,首先是通过社交媒体,然后是通过食物网络扩展到电视上。继德拉蒙德(Drummond)博客获得成功之后,《先锋女人》系列于2011年上电视,在厨房和牧场上与丈夫和四个孩子住在一起,向她展示了她的作品。艾丽珊德拉·维西(Alyxandra Vesey)观察到,“自从法国大厨亮相于1963年,食品电视采用了厨房洽谈当代女性名人的参数”,1个1个食品电视直销倾向于巩固女厨师,厨师和企业主的既定名人。这些节目还可以作为前黄金时段电视明星贬值的名人的“售后市场”,例如Valerie Bertinelli(Valerie的家庭烹饪)和Tiffani Thiesson(在Tiffani的晚餐)。各种形式的美食电视都产生了使人放心的戏剧,其中男子气概和女性气质与传统的象征人物息息相关,无视迫在眉睫的社会变革。为此,并且像它的许多女性同时代人物一样,《先锋女人》(Pioneer Woman)传达了主人的居中感,并通过她在厨房中的位置稳定了家庭。我建议,像先锋妇女这样节目也可以有效地理解为区域性财产电视的形式,分阶段进行国内展示和消费品的积累,以及展示美国传统生活方式的稳定性(图1)。从这个意义上说,先锋女性的对号是盖·菲耶里(Guy Fieri)的晚餐,开车兜风和潜水》,这是蒂莎·德马尼(Tisha Dejmanee)在本卷宗中讨论的系列,其中,男性主人乘坐老式敞篷车游览褪色的国家风景,发现烹饪宝石,代表了美国小企业的持久性。
更新日期:2021-04-11
down
wechat
bug