Third Wave Feminism in Dramatic Television

Paige Hullett
Don Grady
November 2015

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Abstract
This study examines characteristics of third wave feminism in the selected dramatic
television shows: How to Get Away with Murder, Scandal, and Sex and the City. The
findings explore how the concepts reflect third wave feminism, and how these concepts
are challenging Hollywoods standards today.

Introduction
Stemming from the womens suffrage in 1920, feminism later entered a long period
of dormancy that didnt gained social movement again until the 60s. Feminists Betty
Friedan and Gloria Steinem crafted feminisms second wave, where equality of women
was the main focus. Currently, feminisms third wave is bringing forth new ideas that can
be traced back to the early 90s. Multiple feminist scholars define feminism in the
following ways:
A concept that can encompass both an ideology and a movement for sociopolitical
change based on a critical analysis of male privilege and women's subordination within
any given society. (Offen, 151)
A range of movements and ideologies that share a common goal: to define, establish,
and achieve equal political, economical, cultural, personal, and social rights for women.
(Hawkesworth, 45)
Currently, third wave feminism has a sense of thriving in places outside of scholarly
journals and classrooms, especially in cinematic form (Shugart, 133). This research will
analyze how third wave feminism is changing the way women are represented in

Hullett, 2
cinematic story telling on television, outside the context of solely male based
relationships. Three main ideas within third wave feminism appear in recent television
shows, and examples of these concepts will be explained and shown in three different
dramatic episodic programs.
I.

Background

The three waves of feminism

First wave feminism stemmed from the suffrage from the mid nineteenth century
through 1920, and not much change followed this first wave until second wave feminism
emerged. The second wave of feminism had perspectives arising in the post WWII era
through the beginning of the 1980s. During the second wave, the main focus was on
actively seeking legal equality with men. During this time period, several political and
cultural gains were made. The second wave of feminism split in 1980s over the questions
of pornography, prostitution, and sexual choice, and as the second wave came to an end,
feminism became less about radicalization, and more about cultural feminism with a
perspective appealing to the essential sameness among women (Lotz, 3).
As explained by Claire R. Snyder in her essay, What Is ThirdWave Feminism?
A New Directions Essay, second wave feminism still weaves into third wave feminism,
but the third wave of feminism seeks to address different ideas in society. Third wave
feminism is more inclusive than the second wave, and respects differences in race,
ethnicity, religion, and the idea of multiple identities including those who are biracial,
bisexual, and transgender (180).

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Defining Male Gaze
All three waves of feminism are in accordance with the idea that male gaze has
defined the way women are viewed and represented in film and television. Laura
Mulveys scholarly article from 1975 first referenced male gaze as Gendered identity
and sexual looking as elements of woman as spectacle for the pleasure of men (10).
Micahel Foucault is credited for his psychoanalytic theory of male gaze that helped
Mulvey craft her theory. The concept of male gaze has affected women, with research to
support the idea that women find their worth through the approval and eyes of a man
(Ritzer, 467). Additionally, Columpars research explains how Mulvey explored the
concept of male gaze on a deeper level. Mulvey traces cinemas complicity with
patriarchy, posting it as catering to specifically male pleasures and as structured by sexual
division of labor in which men are invested with the power to look while women function
primarily as image or objects of sight (Columpar, 26).
Defining the Glass Ceiling
Breaking the glass ceiling is an old concept and cherished principle of the
American people. As defined by the Federal Glass Ceiling commission, the glass ceiling
is The unseen, yet unbreachable barrier that keeps minorities and women from rising to
the upper rungs of the corporate ladder, regardless of their qualifications or achievements
(4). For the first time, third wave feminism is changing this standard with influence of
postcolonial studies on film theory, in accordance with the theory of breaking the glass
ceiling of patriarchy.

Hullett, 4
The barriers presented are slowly coming down, with the help of the Commission
that was established in 1991. The Commission gives recommendations that will help
eliminate the barriers women face. Additionally, it explains how the glass ceiling is
intertwined with additional issues effecting the economy, and equal pay. While these
issues are still relevant, new roles women are acquiring in film and television are shifting
the paradigm of male hierarchy (7).
II.

Literature Review

Concepts of third wave feminism

Third wave feminism is currently emerging in the United States encompassing multiple
areas of thought. This study will examine and distinguish the three main concepts third
wave feminism presents today, and the way they function in dramatic television.
Race
As briefly explained above, third wave feminism presents new limitations within
the idea of cinematic gaze, including issues that deal with race and class. Third wave
feminism takes the concepts of gender equality, focusing more on the intersection of
various oppressions in feminist thought and activism. This branch of feminism began to
first emerge when many women began to recognize how oppression can be experience
differently among women. Women of color have worked over the past several years to
change these issues, and liberate the ignored divisions forged between women of color
from varying backgrounds and heritages (Lotz, 3).

Sexuality

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While third wave feminism does heavily focus on the issue of race, the concept of
sexuality is also a main focus within the third wave. Shifting again from equality among
men, third wave feminism works to create equality among women. In addition to race,
sexuality and identity are also key concepts working towards equality. When considering
sexuality, oppressed communities who identify as transgender are a problematic
challenge within third wave feminism. Robyn Wiegman writes that issues with the
transgender community marks one of the most profound challenges for feminist theory
today: not simply addressing the persistence of the divide between genetic bodies and
discursive gender, but offering a political analysis of the socially constructed affiliations
between the two (26).
While the transgender community does face many challenges, third wave
feminism works towards respecting these differences. Claire R. Snyders essay expands
on this notion, explaining that third wave feminist ideas about identity embrace notions
of contradiction, multiplicity, and ambiguity, building on postmodern theorys critique of
ideas about the unified self and engaging with the fluid nature of gender and sexual
identity (187). Snyder also explains that not assuming a unified category of women,
most thirdwavers reject the assumption that all members of a particular race, class,
gender, or sexual orientation share common characteristics (187). As a result,
approaches to thinking about those who identify as transgender fits significantly more
into the third wave of thinking as opposed to the second.

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Postfeminism
The third and final concept within third wave feminism is postfeminism. As it is
understood in this research, the concept of post implies a process of ongoing
transformation and change. Post feminism as seen in the third wave is not the same as
anti-feminism, as some have defined it in the past. In addition to challenging issues of
race and sexual identity, post feminism intersects postmodernism, poststructuralist, and
post-colonialism. Essentially, the merging of the three terms focuses on the dynamic
movement capable of challenging modernist, patriarchal and imperialist frameworks
(Brooks, 1).
Additionally, while postfeminism does focus on these intersections, postfeminism is a
new form of empowerment, and focuses on issues such as the power of individual choice.
Third wave feminists argue against the claim that all women share a set of common
experiences, and look to personal experiences to provide knowledge about how the world
operates. Brooks also argues In this context, the gender struggle remains an actual issue
in public and private lives (e.g. the demand for equal pay or the glass ceiling). Post
feminism is a new form of empowerment and independence, individual choice, (sexual)
pleasure, consumer culture, fashion, hybridism, humor, and the renewed focus on the
female body can be considered fundamental for this contemporary feminism. It is a new,
critical way of understanding the changed relations between feminism, popular culture
and femininity. Media discourses play a crucial role in the representation, evolution and

development of this new feminism (2). Essentially, Brooks is claiming that postmodernism is the acceptance of women for who they are, and want to be.
Hullett, 7
The concepts as a whole
Author Arielle Greenberg analyzed the past waves of feminism, and the current third.
She sums up the three main concepts of third wave feminism quoting, Third wave
feminism is generally considered to be invested in a less binary understanding of how
gender does or can function in the world, as well as in the complex intersections of
notions of gendered power and justice with other issues like race, class, nationality,
ethnicity, ability and sexuality. Thus, Third Wave feminism is interested in transitional
and overlapping identity formations; in resisting a heterocentric axis; in understanding
gender as a construct and a shifting and mutable terrain; and in aiming for global and
postcolonial perspectives (Greenberg, 39).
III.

Methods and Materials

This study used content analysis to observe the different ways third wave feminism
appears within dramatic television. For this study, the author watched episodes from three
different television shows, analyzing and taking note of moments when concepts of third
wave feminism were most apparent.
Each show is from a different media platform, including ABC, Netflix, and HBO. The
shows are no more than eleven years old. To achieve this goal, this study will answer the
following research question.
RQ: How does dramatic television reflect the concepts of third wave feminism?

IV.

Results

Hullett, 8
Concept One: Race, as shown on How to Get Away with Murder
The first example this content analysis analyzed was the television show How to
Get Away with Murder. The concept of race within third wave feminism is heavily applied
throughout the show. Actress Viola Daviss character is the leading lady, and is a woman
of color. Davis first got the role in September 2014, and the show is currently on its
second season streaming on ABC. The show is centered around her character, Annalise
Keating. Keating is a criminal law professor and defense attorney who selects the
brightest students to assist her with her cases.
Daviss character is challenging Hollywoods oppression for roles for women of
color in addition to her diverse cast. Three out of the seven leading characters are African
American. Additionally Daviss character, Annalise Keating, is a criminal law professor
and has several defining moments on screen for women of color. Not only is Keating a
leading role for a women of color, but she dives deeper and exposes several issues
women of color face that are not often shown on television. While there are several
scenes of significance, one scene on the fourth episode of season two had a defining
moment. In the scene, Annalise Keating is shown taking off all of her makeup, her wig,
and fake eyelashes in her bedroom, tears streaming down her face.

Figure One: Annalise Keating taking off her makeup

Hullett, 9
The author of this paper found this scene to be a good example of an honest
representation of beauty. Not only did the writers of How to Get Away with Murder give
Davis the spotlight for this important scene, but it also enabled Davis to give a voice to
black women, and present them and their culture in their natural state. Prior research and
analysis of cinematic form revealed that television shows and Hollywood in general often
times restrict these natural appearances, and Davis broke this standard.
Concept Two: Sexuality and identity as shown on Orange is the New Black
The second example in dramatic television this content analysis researched was
on the television show, Orange is the New Black. This second example explores how
sexuality and identity is shown on television within the third wave of feminism. Orange
is the New Black is currently on its third season streaming on Netflix. The show follows
the relationship between inmates at Litchfield Penitentiary, and their experience in the
corrections system.
Actress Laverne Cox is a transgender actress who plays the role of Sophia Burset,
the prisons transgender hairdresser. Coxs character helps portray how differences in
sexuality operate within the prison, and is challenging Hollywoods portrayal of sexuality
on screen. Not only is Sophia a character with sexual difference, but several other

characters have sexual differences as well. Many of the inmates on the show are lesbian
or bisexual, including the lead character. As a whole, the cast of Orange is the New Black
is breaking new ground in many ways through its diverse representation of sexuality.
Similar to How to Get Away with Murder, the study found that the show is
highlighting issues that minority groups are facing. At the end of season three, a certain
Hullett, 10
scene with Coxs character portrayed a very real moment that many transgender people in
jail often face. In figure two, Cox is shown moments after she was attached and beaten by
a fellow prison-mate for being transgender, in addition to being demanded to see her
genitals. The scene gave insight to real life issues that people within the transgender
community face every day.

Figure Two: Sophia Burset, examining her wounds after being attacked
Concept Three: Post Feminism as shown on Sex and the City
The third and final example in dramatic television this content analysis analyzed
was on the television show, Sex and the City. The third concept from third wave feminism
is postfeminism, the idea of acceptance among women, and individual choice.

Sex and the City follows four women in New York City, following the lives of
single New Yorkers. The showed aired on HBO from 1998-2004. The scenes on the show
pave different ideas for the representation of women within third wave feminism,
including the postfeminist ideas of individual choice, empowerment, and escaping male
patriarchy. The author of the study found that Sex and the City highlights these concepts,
and focuses on a relationship among the four friends that is also in accordance to
Hullett, 11
postfeminist ideas. The four lead characters form a relationship that is isnt competitive,
or tainted with male hierarchy influences. In addition to dealing with sexuality, the show
also draws upon other postfeminist themes, including the balance between work and
family life, and embracing individual identities, and the concept of independence.
The four leading ladies have a relationship that is supportive, one that is not often
seen on television. The author of the study found that each woman had their own distinct
identity, and constantly encouraged each other to embrace their independence and
individuality. Actress Kim Cattral plays the character of Samantha Jones, a confident and
outspoken owner of a public relations firm. Jones has several defining moments on screen
where she expresses her individuality, and making choices that are her own.
In episode 93 on season six, Jones is speaking at a benefit after recently being
diagnosed with breast cancer. She begins speaking about her experience from her preplanned notes, but changes her speech after experiencing hot flashes. As seen in Figure
Three, Jones stops in the middle of her carefully prepared speech and says oh to hell
with it, and rips off her wig. This act leads to a standing ovation from the audience, (all
women with breast cancer), who proceed to take their wigs off as well. The author felt

like this moment was a strong example of postfemism in the fact that she made this
individual choice for herself, empowered others, and gave a message to women to accept
each other for who they truly are.

Hullett, 12

Figure Three, Jones taking off her wig at a cancer benefit

V.

Discussion

This study asks how dramatic television reflects the concepts of third wave feminism.
The study focuses on three different television shows, incorporating the themes of race,
sexuality, and postfemism. These modern day dramatic television shows and their
concepts have not gone unnoticed by the media.
In regards to How to Get Away with Murder, executive producer Peter Nowalk
remarked on how the show is changing Hollywood. In an interview with the Daily Beast
he quotes, How To Get Away With Murder has pummeled boundaries when it comes to

how diversity, especially in sexual orientation and race, is portrayed on TVthe effects
of which we cant even start to measure now. No broadcast television series is doing
more for diversity in prime time than this one. We have a very diverse writers room, and
a very diverse cast, Nowalk says. From that comes real life (Fallon, Why How To
Get Away With Murder is Tvs Most Radical Show).

Hullett, 13
Additionally, Daviss work on the show as a woman of color is being recognized. Just
a few months ago she became the first African-American actress to win an Emmy for best
female actress. During her acceptance speech, Davis quoted, Annalise is the sort of
women every women could be if just given the opportunity. The LA Times added, The
character in the Rhimes-produced How to Get Away with Murder that Davis just won her
Emmy for is a brilliant, demanding, morally ambiguous law professor. That kind of role
doesn't need an actor of a particular race. It needs an actor of a particular talent (Whipp,
Emmy Awards, Viola Davis Makes History).
In regards to Orange is the New Black, Cox opens up about the scene discussed
above in an interview with Vulture, quoting, What I think is so brilliant about Sophias
story line and that particular moment and what Jenji Kohan and our writers came up
with is that it shows the truth of the experience that a lot of transgender folks have in
prison every single day. Far too often, trans people who are incarcerated are placed in
solitary confinement allegedly for our protection. And sometimes trans women are
placed in mens prisons, where they put us in solitary confinement, which is cruel and
unusual punishment allegedly for our protection. So when the writers came up with this,

its from reality. This is what happens to so many transgender people who are
incarcerated every single day (Lockett, Orange Is the New Black's Laverne Cox on
Why Playing Sophia's Shocking Punishment Was an Out-of-Body Experience).
Like Daviss role, Coxs role has been recognized for making strides in
Hollywood as well. Her role on Orange is the New Black landed her on the cover of Time
magazine in June 2014, making her the first transgender to ever be on the cover.
Hullett, 14
Sex and the City is no longer on the air, but the show is remembered for the
impact it made. While the show has received some negative feedback regarding the
material presented on the show, feminist studies do allude to the fact that Joness
character and her relationship with her friends is one that parallels the concepts of
postfemisnim.
In the book review of The Social Sex: A History of Female Friendship, in the New
York Times, author Ann Friedman remarks, If shared oppression is one of the
distinguishing characteristics of womens friendships, then one could expect to see the
power of womens bonds diminished as they make more and more gains toward equality.
In fact, Yalom and Donovan Brown argue, Friendships are flourishing as never before.
Pop culture is littered with examples, from Sex and the City to Broad City, of the richness
of womens platonic relationships. In most Western nations, women marry later, have
more economic power, divorce more often and live longer than at any point in history.
Whereas friendship was once a reaction to the shortcomings of other social institutions,
these days its an institution unto itself (Friedman, The Social Sex: A History of Female
Friendships).

Additionally, writer Dana Yu from FEM, UCLAs feminist magazine analyzes

Cattrals character. Commenting on the relationship between the four ladies Yu quotes,
They consistently support Jones, and do not attempt to shame her. Samantha never feels
like she cant tell her friends about her sexual experiences, and why should she?
Samantha is a confident, self-assured women who knows what she wants (Yu,
Revisiting the Character of Samantha Jones).
Hullett, 15
VI.

Conclusion

This paper examined three main concepts of third wave feminism, with examples of
these concepts as seen on three different dramatic television shows. The concept of race
was analyzed on How to Get Away with Murder. The concept of sexuality was analyzed
on Orange is the New Black, and finally, the concept of postfeminism was analyzed on
Sex and the City.
The author of the study found that while these shows do reflect the concepts within
third wave feminism, several issues within the third wave still remain in Hollywood. The
concepts of third wave feminism were found in these select shows, but dramatic
television as a whole has room to grow. Third wave feminism is still evolving, and in the
process of continuing to change. Additionally, issues regarding equal pay, breaking the
glass ceiling, and oppression of minority groups among women still exist. Limitations to
this study include a small sample size. Future studies may want to do more extensive
research, examining more shows across other media platforms.
Acknowledgments

The author would like to extend its thanks to Don Grady, Associate Dean in the
School of Communications at Elon University, for all his guidance and advice.

Hullett, 16
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