We shouldn’t act like it’s unusual if a woman has power, and turning everything pink and flowery to appeal to women can be “ sexist and demeaning.” Other critics of the word “girlboss” say it’s needlessly gendered “ patronizing” - women who are bosses are just bosses. Hanna’s “creating conflict out of thin air” and beefing “with everyone she’s ever interacted with” gave off an air of “taking back her power,” as a so-called girlboss does in this day and age. TikTok user identified a recent example of being a “girlboss” or “girlbossification” in the reemergence of Gabbie Hanna, a Vine star turned YouTuber who, after months of relative silence, spent several days calling out critics of her 2017 poetry original sound – Serena Being a “girlboss” in the early 2010s was considered a good and impressive thing, but now, Gen Z considers it a “cringe” sign of trying too hard to further oneself. Someone who gaslights and gatekeeps generally isn’t a great person, which is why the inclusion of “girlboss” in the phrase is so interesting. In the same way, the term’s popularization makes the behavior easier to call out. Gatekeeping, like gaslighting, is a term that describes a manipulative behavior made popular on the internet. There’s a whole gatekeeping subreddit dedicated to calling out this behavior. If a punk music fan tells you that you can’t wear that shirt if you can’t name five Nirvana songs, that’s gatekeeping. Ultimately, we argue that through practices of humour, irony and disidentification, the ‘girlboss’, the ‘pick me girl’ and 'that girl' are evoked as feminine Others, producing a collective feminist politics that lacks positive identity markers, where the feminine self must precariously navigate practices of identification, disidentification, opposition and rejection.I prefer their older stuff □ #indiekid #thestrokes #thenewabnormal #vinyl #indie #gatekeeper #gatekeep ♬ The Adults Are Talking – The Strokesįor instance, maybe you’re wearing a Nirvana shirt from Urban Outfitters. These include performing ‘wokeness’ (Sobande 2019) compulsory irony (Chateau 2020) navigating digital literacies (Nissenbaum and Shifman 2017) manufacturing relatability (Kanai 2019) and compliance with hegemonic feminine norms. Throughout our analysis, we highlight a range of tensions and contradictions that are evoked within normative frames of youthful femininity. Expanding on scholarship examining teenage girlhood on TikTok (Kennedy 2020) and the ‘memeified’ politics of Gen Z (Zeng and Abidin 2021), we consider how young girls on TikTok have developed ‘remixed’ feminine identities by positioning figures such as the ‘girlboss’, the ‘pick me girl’ and ‘that girl’ as imagined others. This emerging form of online feminist consciousness, however, intertwines with existing regimes of femininity and girlhood, producing a fraught environment within which establishing a young, feminine identity is particularly precarious. Young users are increasingly disidentifying with, or even zealously rejecting, postfeminist ideals. Yet, on the social media platform TikTok, a number of alternative feminist trends have emerged. TikTok, memes, feminism, youth cultures, disidentification AbstractĬatchcries of empowerment and enterprise have been documented and critiqued by a range of scholars, and continue to be invoked within the postfeminist mainstream (Negra 2014, Winch 2013, Adkins and Dever 2016, Banet-Weiser 2015, Dobson 2014).
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