... convergence, the article maps the supplemental transactions between the medial inscription of liveness and the biopolitical imperative to make live. It argues that reality TV's preoccupation with the obese body functions as a mechanism for the negotiation and containment of the medium's own anxieties over its...

... of compulsory domesticity and strictly policed gender roles has not been eliminated; indeed, in some instances it has become more fully entrenched. It is to this problem that I turn my attention. The ultimate focus of my analysis here will be on the char- acter of the obese...

... – 59 Misha Kavka Sex on the Shore: Care and the Ethics of License in Jersey Shore. No. 88: pp. 101 – 27 Misha Kavka, see Lynne Joyrich, Misha Kavka, and Brenda R. Weber Michael Litwack Making Television Live: Mediating Biopolitics in Obesity Programming. No. 88: pp. 41 – 69...

..., and that is of particular interest to feminist critics. Of course, this is a feminism that goes beyond concern with the situation of women to confront wider issues that are explicitly and implicitly gendered, such as obesity, addiction, sexual license, and superb grooming — to name just a few of the themes...

... of the happy mammy. A version of the fictional character created as a justification for Black slavery in the United States, Aunt Jemima exhibits these general characteristics as the head female house slave: she is obese, eager to serve, made to order, and personable.* Like her very existence, her...

..., will prove all too true). While many commentaries emphasize Anaïs’s obesity and lack of sexual appeal as negative reflections of the spectacle of Elena’s beauty, what is more important is the contrast between Anaïs’s childlike demeanor and body and the sophisticated sexual vocabulary she uses...

... the claustrophobically small “factory” space in which these unusually large women are enclosed; their unusual physical features — ­obesity as well as thinness — ­ could be read in terms of class, not “freakish” fascination; and the inclusion of two dark-­skinned workers — ­like the prominent role played...

... past her prime? Camp is Alexis on Dynasty, Gloria Swanson in Sunset Boulevard, Elizabeth Taylor on the cover of Hollywood Babylon II.46 There is a striking regularity with which aging and the body "too" old, too obese, too close to death, are hurled onto middle-aged, female star-images like...

..., the necessity for masculine metacommentary and masculine control. Annie is made into an obscene figure: her repressive 69 prudishness, her obesity, and the way in which food comes up again and again in connection with her-the feed, the spilled soup, the scene of feeding-all point to her right-wing...

... of sexual roles. We have seen how the show lovingly presents the icons of gay male pornography. And the Playhouse’s ideas about femininity are equally pop: Miss Yvonne is the Burlesque Queen of camp theater, her femininity exaggerated into a parody of itself; the obese Mrs. Steve is the Divine...

... Streese and Kerry Shea read Jasmin as trapped in “an image constructed by a man: only through Rudy’s glance/art is Jasmin transformed from obese, unattractive matron into an erotic mother goddess carrying symbols of fertil- ity.”9...

... almost a portrait-gallery of the characteristic figures of our era.”9 Each of these cases, disparate as they may seem, presents a very similar narrative where the ailing individual—whether homici- dal, obese, communist, fascist, or schizophrenic—is brought...