'Whore-ocracy': Show Girls, the Beauty Trade-Off, and Mainstream Oppositional Discourse in Contemporary Italy
'Whore-ocracy': Show Girls, the Beauty Trade-Off, and Mainstream Oppositional Discourse in Contemporary Italy
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“妓女统治”：当代意大利的歌舞女郎、美丽权衡和主流对立话语
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发表时间：
2011
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通讯作者：
Danielle E. Hipkins
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作者：
Danielle E. Hipkins
意大利电视上的女性比其他欧洲电视网络更频繁地被客观化。然而，在当代意大利文化中，人们对“velina”（电视歌舞女郎）的形象感到道德恐慌，认为这与替罪羊妓女有着危险的相似之处，这已成为有关西尔维奥·贝卢斯科尼（Silvio Berlusconi）、他的媒体帝国和政治腐败的辩论的简写。在这篇文章中，我将开始展示如何专注于女性表演和卖淫实际上定义了意大利文化自第二次世界大战以来。我将提到“美丽神话”的概念，以及它是如何被用来使女性在意大利社会中保持一定的地位的，展示它是如何在意大利的背景下被美丽的权衡所进一步扭曲的，即女性美丽之间的等式，愚蠢和性失禁。然后，我将展示这段历史是如何告知关于“velina”，“velinismo”和公共空间中的女性的辩论，以至于严重破坏了主流媒体的批评，由于辩论中使用的术语，女性的分裂，美丽的权衡和有问题的视觉表现。我将建议，为了引入一些细微差别到'velina'辩论某些理论模型需要在意大利的背景下进一步发展。这些模式源于女性主义媒体研究，特别是罗莎琳德·吉尔的作品，包括后女性主义理论和对女性主体性、快乐和旁观的更微妙的理解。
Abstract Women on Italian television are objectified more frequently than on other European television networks. However, a moral panic in contemporary Italian culture about the figure of the 'velina', or television showgirl, perceived as dangerously akin to the scapegoated prostitute, has become shorthand for debates about Silvio Berlusconi, his media empire and political corruption. In this article I will begin by showing how a preoccupation with female performance and prostitution has in fact defined Italian culture since the Second World War. I will refer to the idea of 'the beauty myth' and how this has been used to keep women in a certain place in Italian society, showing how it has been further inflected in the Italian context by a beauty trade-off, namely the equation between female beauty, stupidity and sexual incontinence. I will then show how this history has informed the debate about the 'velina', 'velinismo', and women in public spaces to a point that seriously undermines criticism in the mainstream media, due to the terms used in the debate, the splitting of women, the beauty trade-off and problematic visual representations. I will suggest that in order to introduce some nuance into the 'velina' debate certain theoretical models require further development in the Italian context. These models stem from feminist media studies and the work of Rosalind Gill in particular, including postfeminist theory and subtler understandings of female subjectivity, pleasure and spectatorship.