Feminist comedy

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Feminist comedy refers to comedic acts and styles that further feminist principles, including gender equality and awareness of the social experience of gender. Comedy, the creative works with the intention of humor, has been historically dominated by men. The current comedy culture climate remains male-focused and is currently accepting of women comedians. [1] [2] The conversation surrounding gender-aware comedy has included articles and opinions from many male comedians and fans that are rooted in the idea that women aren’t funny, despite protest from successful female comedians and audiences. [3] [1] However, there is a difference between female humor and feminist humor. [1] As a practice, feminist comedy is not solely comedy performed by women, as many women, especially early female comics, “served to reinforce… cultural stereotypes” and patriarchal views about women and gender. [4] While some scholars have argued that this is because feminism may be antithetical to comedy, which is often described as an aggressive, necessarily masculine act in which the performer centers themselves, others have argued that humor's inclination to subvert hierarchies makes it a particularly effective communication platform for feminist comedians. [5] [6] Feminist comedy frequently references and discusses female-gendered issues and topics such as menstruation, rape, gender inequality, beauty norms, and machismo. [6] [1] Along the lines of intersectionality, which suggests that social identities and systems of oppression are interrelated, many feminist comedians also discuss homophobia, racism, and transphobia. [7] [6]

Contents

History

Comedy was an important genre in the late 19th and early 20th centuries for mocking traditional gender norms and envisioning new societies that would be brought about through comic anarchy and playful upheaval. [8] Popular stage and screen comediennes included Mabel Normand, Eva Tanguay, Louise Fazenda, Marie Dressler, and many others. In the early and mid-1960s, female comedians sometimes reinforced cultural stereotypes and patriarchal views about women and gender. [4] Phyllis Diller, Joan Rivers, and Totie Fields were notable female comedians who talked about gender and societal views of gender in their comedy; however, their comedic acts were successful in large part due to their self-deprecation and declaring themselves as ugly or as not being successful at the gender roles forced upon them. [4] Other notable early women in comedy, such as Mae West and Helen Kane, relied primarily on sex appeal in order to attract male audiences. [9] These female comedians were able to achieve relative success in comedy culture, but only by reinforcing the roles of patriarchy and men in comedy. [9]

Lily Tomlin in 1970. Lily Tomlin--Hair helmet.jpg
Lily Tomlin in 1970.

There are examples, however, of feminist comics who were able to gain traction as early as the 1960s, notably Lily Tomlin. [4] Lily Tomlin's style of humor, which emphasizes sincerity in order to access humor, rather than portraying herself as a victim or victimizing others, has been described as a method through which her feminist view of acceptance can be received by the audience. [4]

Comedians of the last twenty years, male and female, have progressively talked more about gender, societal, and racial expectations, especially as notable female comedians such as Tina Fey, Amy Poehler, and Amy Schumer have received recognition. [1] [10] These comedians and others frequently touch on perceptions and expectations in society that systemically oppress and exploit, which scholars have identified as key elements of feminist humor. [11] In 1985, comedian Danitra Vance became the first African-American series regular on Saturday Night Live. [12] Although this type of representation on television was groundbreaking, Vance found herself repeatedly cast in stereotypical roles and frequently spoke out about her frustrations regarding typecasting.

Feminist comedy also serves to be a place of refuge and comedic relief for other women. The intention of feminist comedy has evolved to incorporate the idea of comedy being written, "by women, for women". [13] Others have pointed to male comedians such as George Carlin and Louis CK as being feminist; George Carlin, while largely dismissive of political correctness frequently espoused progressive ideas in his comedy, especially with regards to women's rights and abortion. [14] His jokes about abortion opponents being anti-woman connect directly to what bell hooks described as a "feminist movement [urging] females to no longer see [themselves] and [their] bodies as the property of men". [15] Louis C.K. frequently commented on the ways in which men oppress and exploit women, naming male violence explicitly with his line, "Men are the number one threat to women". [16] However, the recent allegations against Louis CK of masturbating in front of at least five women, which Louis CK admitted to be true in a statement, complicate the way feminist male comics are received in comedy culture. [16] [17]

Key themes

Feminist scholars sometimes disagree on what a feminist joke or feminist humor is. [6] Some propose that feminist humor is essentially the humor of the oppressed: it perceives organized systems of oppression and exploitation and is based in the conviction that these systems are undesirable; therefore, feminist humor is based on visions of change. [11] Others, however, explore feminist humor that simultaneously challenges and subverts patriarchy while avoiding divisiveness by focusing on a comedy of inclusivity. [6] This comedy focuses on the shared experiences of women and gender norms, which serves to undermine the status quo by refusing to fall into patriarchal expectations of divisiveness. [6]

Queer comedy

Much of scholarly research and discussion surrounding feminist comedy comes from the historical background of many lesbian comedians. This is likely because lesbian humor subverts the expectations of a male-dominated space by being self-defined (comedy about lesbians by lesbians) and makes women, rather than men, the central focus. [6] Perhaps one of the most widely known queer comedians is Ellen DeGeneres, who made television history when her character on her sitcom, The Ellen Show, came out as lesbian. DeGeneres herself had come out less than a month prior, and this announcement made her the first openly lesbian actor to play an openly lesbian title character. [18] A prominent contemporary example of this is the comedy of Cameron Esposito and River Butcher, a formerly married couple who created the streaming series Take My Wife . [19] [20] The show centers on the real life couple and their lives as stand up comedians balancing work, their relationship, and gender barriers. [20] Additionally, the show was lauded along intersectional feminist lines for its diversity and representation in actors. Queer roles are played exclusively by queer actors and comedians, queer women of color shared scenes together, and a trans actress was hired to play a role that was not specifically trans. [20]

Race and womanhood in comedy

There is a long history of women of color using comedy along both feminist and racially conscious lines . Black women especially have long used satire as a postmodern tool to destabilize expectations of race and gender, as well as to point to the cultural fictions that make the marginalization of black women possible. [21] Black Radical feminist Florynce "Flo" Kennedy famously used humor to name and point her audience to racism, misogyny, and sexism. [21] Contemporary examples such as Leslie Jones of Saturday Night Live similarly use satire of stereotypes as a method of black feminism. Jones received backlash after her first Saturday Night Live appearance in 2014, where she told a joke about breeding slaves. Jones later defended herself, stating that the joke, and all jokes about her African-American roots, was and are created as a way to channel her frustrations regarding her race and dating troubles. Jones explained that she took, "...something of pain and [made] it funny". [22] By doing this, Jones takes a subject of oppression and turns it into both material for her comedy and for her feminist principles.

Negin Farsad in 2012. Negin Farsad.png
Negin Farsad in 2012.

Iranian-American Negin Farsad uses comedy as a way to fight Islamophobia. [23] Her stand-up routine is composed of what she has described as "social justice comedy", [23] in which she maintains a positive, charming attitude with her audience and allows them to ask questions regarding her race, religion, or anything that comes to mind. Farsad uses this material to gain a better understanding of how people perceive Islam and Muslims, and creates jokes that are humorous but informative.

Such actions are met with controversy, however, as some scholars have said that these representations risk reinforcing the racist and patriarchal narratives these comedians are attempting to undermine. [21]

Motherhood in comedy

Ali Wong performing in 2013. Ali Wong 2013.jpg
Ali Wong performing in 2013.

Motherhood is a growing topic of conversation in feminist comedy. Female comedians who hold the dual identities of mothers face a unique struggle; they are forced to prove themselves not only as comedians but as relevant in the field after bearing children.[ improper synthesis? ]

Comedian Ali Wong is transparent about the experience of motherhood in her routines. She talks about the "roller coaster of emotions" [24] involved in becoming a parent, and doesn't hold back in her descriptions of parenting and the challenges women face in proving their value in comparison to men.[ citation needed ]

Motherhood also holds a unique place in feminist comedy when it comes to societal expectations.[ improper synthesis? ] Society tends to link womanhood with motherhood, and in doing so, those who do not bear children are often viewed as "deviant". [25] Feminist comedians frequently challenge this expectation.[ citation needed ]

Related Research Articles

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Radical feminism is a perspective within feminism that calls for a radical re-ordering of society in which male supremacy is eliminated in all social and economic contexts, while recognizing that women's experiences are also affected by other social divisions such as in race, class, and sexual orientation. The ideology and movement emerged in the 1960s.

<span class="mw-page-title-main">Tomboy</span> A girl who behaves in a manner considered typical of boys

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<span class="mw-page-title-main">Lesbian feminism</span> Feminist movement

Lesbian feminism is a cultural movement and critical perspective that encourages women to focus their efforts, attentions, relationships, and activities towards their fellow women rather than men, and often advocates lesbianism as the logical result of feminism. Lesbian feminism was most influential in the 1970s and early 1980s, primarily in North America and Western Europe, but began in the late 1960s and arose out of dissatisfaction with the New Left, the Campaign for Homosexual Equality, sexism within the gay liberation movement, and homophobia within popular women's movements at the time. Many of the supporters of Lesbianism were actually women involved in gay liberation who were tired of the sexism and centering of gay men within the community and lesbian women in the mainstream women's movement who were tired of the homophobia involved in it.

<span class="mw-page-title-main">Transfeminism</span> Branch of feminism

Transfeminism, or trans feminism, is a branch of feminism focused on transgender women and informed by transgender studies. Transfeminism focuses on the effects of transmisogyny and patriarchy on trans women. It is related to the broader field of queer theory. The term was popularized by Emi Koyama in The Transfeminist Manifesto.

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<span class="mw-page-title-main">Compulsory heterosexuality</span> Social vision of heterosexuality as the natural inclination or obligation

Compulsory heterosexuality, often shortened to comphet, is the theory that heterosexuality is assumed and enforced upon people by a patriarchal, allonormative, and heteronormative society. The term was popularized by Adrienne Rich in her 1980 essay titled "Compulsory Heterosexuality and Lesbian Existence". According to Rich, social science and literature perpetuate the societal belief that women in every culture are believed to have an innate preference for romantic and sexual relationships with men. She argues that women's sexuality towards men is not always natural but is societally ingrained and scripted into women. Comphet describes the belief that society is overwhelmingly heterosexual and delegitimizes queer identities. As a result, it perpetuates homophobia and legal inequity for the LGBTQ+ community.

Feminist views on sexuality widely vary. Many feminists, particularly radical feminists, are highly critical of what they see as sexual objectification and sexual exploitation in the media and society. Radical feminists are often opposed to the sex industry, including opposition to prostitution and pornography. Other feminists define themselves as sex-positive feminists and believe that a wide variety of expressions of female sexuality can be empowering to women when they are freely chosen. Some feminists support efforts to reform the sex industry to become less sexist, such as the feminist pornography movement.

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Norma Bailey is a Canadian film writer, producer, and director whose work is rooted in feminist and intersectional film theory. Bailey has directed several films, both in English and French and in various different genres, including fiction and non-fiction films. Her prolific career within the film industry has awarded her various awards and professional accolades including being named to the Order of Manitoba in 2010.

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In feminist theory, the male gaze is the act of depicting women and the world in the visual arts and in literature from a masculine, heterosexual perspective that presents and represents women as sexual objects for the pleasure of the heterosexual male viewer. In the visual and aesthetic presentations of narrative cinema, the male gaze has three perspectives: that of the man behind the camera, that of the male characters within the film's cinematic representations; and that of the spectator gazing at the image.

Vag Magazine, which was created in 2010 by Leila Cohan-Miccio and Caitlin Tegart, is an American feminist themed comedy web series starring Kate McKinnon, Jocelyn Guest, Nicole Drespel, Sarah Claspell, Veronica Osorio, and Leslie Meisel. The web series in its entirety can be found on YouTube and Vimeo. Filmed at Upright Citizens Brigade Theatre, Vag Magazine was directed by Zach Neumeyer and produced by Nicole Shabtai.

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References

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  2. ↑ "Perspective | For women in comedy, even the stage isn't safe". Washington Post. Retrieved 2017-11-17.
  3. ↑ Hitchens, Christopher. "Why Women Aren't Funny". Vanity Fair. Retrieved 2017-11-17.
  4. 1 2 3 4 5 Stoddard, Karen (1977). ""Women have no sense of humor" and other myths: A consideration of female stand-up comics". American Humor. 4 (2): 11–14. JSTOR   42594582.
  5. ↑ "Women in Comedy | Makers". Makers. Retrieved 2017-11-17.
  6. 1 2 3 4 5 6 7 Bing, Janet (2004). "Is Feminist Humor an Oxymoron?". Women and Language. 27 (1): 22–33. ISSN   8755-4550.
  7. ↑ hooks, bell (2014). Feminist theory : from margin to center. New York. ISBN   9781138821668. OCLC   882738733.{{cite book}}: CS1 maint: location missing publisher (link)
  8. ↑ Hennefeld, Maggie "Specters of Slapstick and Silent Film Comediennes", Columbia UP, 2018.
  9. 1 2 Horowitz, Susan (1997). Queens of comedy: Lucille Ball, Phyllis Diller, Carol Burnett, Joan Rivers, and the new generation of funny women. Routledge.
  10. ↑ "Inside Amy Schumer and Broad City: How to Get Guys Watch to Feminist Comedy". Time. April 2014. Retrieved 2017-11-17.
  11. 1 2 Kaufman, Gloria, 1929–; Blakely, Mary Kay, 1948– (1980). "Pulling our own strings: feminist humor & satire". 1st Midland Book ed.{{cite journal}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  12. ↑ "The Short Struggle Of Danitra Vance". tribunedigital-sunsentinel. Archived from the original on February 20, 2015. Retrieved 2018-05-10.
  13. ↑ Merrill, Lisa (2010). "Feminist humor: Rebellious and self-affirming". Women's Studies. 15 (1–3): 271–280. doi:10.1080/00497878.1988.9978732.
  14. ↑ Healy, Cori (July 2016). "Reexamining Political Correctness through Feminist Rhetoric in the Stand up of George Carlin". Comedy Studies. 7 (2): 137–142. doi:10.1080/2040610X.2016.1197666. S2CID   148224606.
  15. ↑ hooks, bell (2000). Feminism is for Everybody: Passionate Politics. Cambridge, MA: South End Press.
  16. 1 2 "How Louis C.K. positioned himself as a champion of feminism". NY Daily News. Retrieved 2017-11-17.
  17. ↑ Wadsworth, Nancy D. (2017-11-14). "Analysis | Louis C.K.'s apology is imperfect. But it is still important". Washington Post. ISSN   0190-8286 . Retrieved 2017-11-17.
  18. ↑ ""Coming out" episode of Ellen - Apr 30, 1997 - HISTORY.com". HISTORY.com. Retrieved 2018-05-10.
  19. ↑ "Take My Wife – Trailer – Seeso Original Series by Myportal2010 – Dailymotion". Dailymotion. 2016-12-26. Retrieved 2017-11-17.
  20. 1 2 3 Robinson, Joanna. "It's Not Too Late to Save One of TV's Most Urgently Important Shows". HWD. Retrieved 2017-11-17.
  21. 1 2 3 Finley, Jessyka (July 2016). "Black Women's Satire as (Black) Postmodern Performance". Studies in American Humor. 2 (2): 236–265. doi:10.5325/studamerhumor.2.2.0236. S2CID   157430735.
  22. ↑ Marantz, Andrew (2015-12-28). "Leslie Jones: Always Funny, Finally Famous". The New Yorker. ISSN   0028-792X . Retrieved 2018-05-10.
  23. 1 2 "Negin Farsad: Can Humor Fight Prejudice?". NPR.org. Retrieved 2018-04-22.
  24. ↑ Tsui, Diana. "Ali Wong Is Back With Funny Stories About Being a Mom". The Cut. Retrieved 2018-05-11.
  25. ↑ McQuillan, Julia; Greil, Arthur L.; Scheffler, Karina M.; Tichenor, Veronica (2008-08-01). "The Importance of Motherhood among Women in the Contemporary United States". Gender & Society. 22 (4): 477–496. doi:10.1177/0891243208319359. PMC   2855977 . PMID   20407592.
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