Superstrumps <\/em>developed to address the issue of stereotyping of women.\u00a0 In the interview, they recount the process of creating the game involving other women from their local community.\u00a0 This exemplifies how a strategy for resisting and reclaiming identities undermined by negative labelling is developed.\u00a0\u00a0 Their views are strongly shaped by their feminist principles. The interview acknowledges the complex nature of identities, the challenge of media representation and the symbiotic relationship between media and audiences is revealed.<\/p>\nFrom Soap Opera to Reality Programming: Examining Motherhood, Motherwork and the Maternal Role on Popular Television | Rebecca Feasey<\/p>\n
Representations of motherhood dominate the television landscape in a variety of popular genre texts, and as such it is important that we consider the ways in which these women are being constructed and circulated on the small screen. Indeed, although much work has been done to investigate the depiction of women on television, little research exists to account for the portrayal of mothering, motherhood, and the maternal role. With this in mind, this article introduces extant literature concerning the representation of motherhood in the media and then examines ways in which this research might be understood in relation to the depiction of mothers in soap opera, situation comedy, teen drama, dramedy and reality television. It considers the ways in which popular television texts form a consensus as they negotiate the idealized image of the \u2018good\u2019 mother in favour of a more attainable depiction of \u2018good enough\u2019 mothering which stands apart from the romanticized image of the ideal mother that dominates the broader entertainment arena.<\/p>\n
Motherhood and the Media under the Microscope: The Backlash Against Feminism and the Mommy Wars |Kim Akass<\/p>\n
Despite the passing of sexual discrimination legislation, the difficulty of combining work and motherhood repeatedly hits the headlines. \u00a0This paper looks at the American media phenomenon known as the \u2018mommy wars\u2019 and asks if British mothers can expect to face the same issues and attitudes as their American sisters.<\/p>\n
Tea with Mother: Sarah Palin and the Discourse of Motherhood as a Political Ideal |Janet McCabe<\/p>\n
Seldom has someone emerged so unexpectedly and sensationally on to the American political scene as Sarah Palin.\u00a0 With Palin came what had rarely, if ever, been seen before on a presidential trail: hockey moms, Caribou-hunting, pitbulls in lipstick parcelled as political weaponry. And let\u2019s not forget those five children, including Track 19, set to deploy to Iraq, Bristol, and her unplanned pregnancy at 17, and Trig, a six-month-old infant with Down\u2019s syndrome.\u00a0 Never before had motherhood been so finely balanced with US presidential politics. Biological vigour translated into political energy, motherhood transformed into an intoxicating political ideal. This article focuses on Sarah Palin and how her brand of \u201crugged Alaskan motherhood\u201d (PunditMom 2008) became central to her media image, as well as what this representation has to tell us about the relationship between mothering as a political ideal, US politics, and the media.<\/p>\n
Adult Fear and Control: Ambivalence and Duality in Clive Barker\u2019s\u00a0The Thief of Always<\/em> | Gabrielle Kristjanson<\/p>\nThis article considers the relationship between the text and accompanying illustrations in Clive Barker\u2019s\u00a0children’s novel\u00a0The Thief of Always: A Fable<\/em>. This tale of abduction was published in the social background of fear around the child predator of the early 1990s and incorporates ideas of monstrous villainy, loss of childhood innocence, and insatiable desires. \u00a0As a fable,\u00a0Thief<\/em> is a cautionary tale that not only teaches that childhood years are precious and are not to be wished away or squandered in idle leisure, but also of the dangers that some adults pose to children. Problematically, an honest and frank discussion of adult sexual desires toward children would despoil the very innocence that is trying to be protected; thus, a lesson such as this must be sublimated within the story. Yet, it is the illustrations, and more specifically the way in which the illustrations corroborate and contradict the plot of this story that reveals an underlying ambivalence toward the figure of the child and an echoing duality present in both the child and the child predator.<\/p>\nAbout the Contributors<\/h4>\n
Akass, Kim <\/strong>is a lecturer in Film and TV at the University of Hertfordshire.\u00a0 She has co-edited and contributed to Reading Sex and the City <\/em>(IB Tauris, 2004), Reading Six Feet Under: TV To Die For<\/em> (IB Tauris, 2005), Reading The L Word: Outing Contemporary Television<\/em> (IB Tauris, 2006), Reading Desperate Housewives: Beyond the White Picket Fence<\/em> (IB Tauris, 2006) and Quality TV: Contemporary American TV and Beyond<\/em> (IB Tauris, 2007).\u00a0 She is currently researching the representation of motherhood in the media and is one of the founding editors of the television journal Critical Studies in Television: The International Journal of Television Studies<\/em> (MUP), managing editor of CSTonline as well as (with McCabe) series editor of the \u2018Reading Contemporary Television\u2019 for IB Tauris.\u00a0 Their new collection TV\u2019s Betty Goes Global: From Telenovela to International Brand<\/em> was published last year.<\/p>\nEsan, Oluyinka <\/strong>is a Reader in the School of Film and Media at the University of Winchester UK.\u00a0\u00a0 Her research focuses on media production practices and reception of media messages especially by women and children.\u00a0 This is informed by her interest in social relevance of media messages and their impact on society.\u00a0 Through her empirical studies in non-Western contexts, Oluyinka offers fresh perspectives which enrich conceptualisations of media and film practices. Her recent works offer insight into audience pleasures and the valuing of films (Nollywood).\u00a0 She is the author of Nigerian Television, Fifty Years of Television in Africa<\/em> (AMV Publishers Princeton NJ, 2009).\u00a0\u00a0 Her current project is Watching Television: What Nigerian Children Want. Dr Esan convened the roundtable event on Media and Mothers\u2019 Matters (October 2011) at which earlier versions of papers in this dossier were first presented.<\/p>\nFeasey,<\/strong> Rebecca <\/strong>is Senior Lecturer in Film and Media Communications at Bath Spa University. She has published a range of work on celebrity culture, contemporary Hollywood stardom and the representation of gender in popular media culture. She has published in journals such as the Quarterly Review of Film and Video<\/em>, the Journal of Popular Film and Television<\/em>, the Journal of Gender Studies<\/em>, Continuum: Journal of Media & Cultural Studies<\/em> and the European Journal of Cultural Studies<\/em>. She has written book length studies on masculinity and popular television (EUP, 2008) and motherhood on the small screen (Anthem, 2012). She is currently writing a research monograph on maternal readings of motherhood on television (Peter Lang, 2015).<\/p>\nKristjanson, Gabrielle<\/strong> is a PhD candidate in the School of Culture and Communication at the University of Melbourne, Australia. She holds a Bachelor of Science and a Master of Arts in Comparative Literature, both obtained at the University of Alberta, Canada. Her research revolves around the manifestation of moral panic and criminal monstrosity in Western literature, and her dissertation is on fictional representations of the child predator in adult and children’s literature.<\/p>\nMcCabe, Janet <\/strong>is Lecturer in Film, Television and Creative Industries at Birkbeck, University of London. She edits Critical Studies in Television and has written widely on feminism, cultural memory \/ politics and television. She co-edited several collections, including Quality TV: Contemporary American TV and Beyond <\/em>(2007) and Reading Sex and the City<\/em> (2004), and her latest works include The West Wing<\/em> (2012) and TV\u2019s Betty Goes Global: From Telenovela to International Brand<\/em> (2012; co-edited with Kim Akass).<\/p>\nMoore,<\/strong> Syd <\/strong>is the author of The Drowning Pool<\/em> and Witch Hunt<\/em>, novels which explore Essex witch hunts.\u00a0 She is currently working on her third book, The Sacrifice<\/em>.\u00a0 Before embarking on a career in education, Syd worked extensively in the publishing industry, fronting Channel 4\u2019s book programme, Pulp.\u00a0 She was the founding editor of Level 4, an arts and culture magazine, and is co-creator of Superstrumps<\/em>, the game that reclaims female stereotypes. When she is not writing Syd works for Metal Culture, an arts organisation, promoting arts and cultural events and developing literature programmes.<\/p>\nWigmore, Heidi <\/strong>is a visual artist and fine art lecturer. She studied at Norwich School of Art and completed an MA at the University of East London in 2001. Her practice is drawing based but multidisciplinary, incorporating installation, props and film. Her imagery is overtly figurative but dislocated, she is interested in the (imperfect) imitation of the human: the doll\/mannequin\/dummy, the human simulacrum.\u00a0 Heidi\u2019s public art projects include a temporary billboard artwork in central London, ‘Independent Free State’, that explored the female form as map\/territory and customized beach huts at The South Bank Centre for the Festival of Britain in 2011. She has lectured for University of Essex and Anglia Ruskin University. She currently runs workshops with English National Ballet and is an artistic assessor for Arts Council England.<\/div><\/p>\n<\/p>\n
R\u00e9sum\u00e9s des articles<\/h4>\n
Artist Interview – Superstrumps: the Card Game with a Mission Syd Moore and Heidi Wigmore in Conversation with Oluyinka Esan | Oluyinka Esan<\/p>\n
L\u2019entretien dans ce dossier illustre bien le potentiel des collaborations entre artistes et \u00e9crivains. On y voit comment la culture populaire peut \u00eatre r\u00e9appropri\u00e9e. Les participants ont cr\u00e9\u00e9 ensemble le jeu de cartes Superstrumps<\/em> afin d\u2019aborder la question des st\u00e9r\u00e9otypes sur les femmes. Dans l\u2019entretien ils reviennent sur le processus de cr\u00e9ation du jeu dans lequel des femmes de leur communaut\u00e9 locale se sont impliqu\u00e9es, et \u00e0 travers lequel a \u00e9t\u00e9 mis en place une strat\u00e9gie de r\u00e9appropriation des identit\u00e9s d\u00e9valu\u00e9es par des repr\u00e9sentations n\u00e9gatives. Leur point de vue est fortement influenc\u00e9 par leur principes f\u00e9ministes. L\u2019entretien tient compte de la nature multiple des identit\u00e9s et du d\u00e9fi pos\u00e9 par les repr\u00e9sentations m\u00e9diatiques\u00a0; au bout du compte c\u2019est la relation symbiotique entre les m\u00e9dia et leurs audiences qui \u00e9merge.<\/p>\nFrom Soap Opera to Reality Programming: Examining Motherhood, Motherwork and the Maternal Role on Popular Television | Rebecca Feasey<\/p>\n
Les repr\u00e9sentations de la maternit\u00e9 pullulent sous diff\u00e9rentes formes g\u00e9n\u00e9riques dans le paysage t\u00e9l\u00e9visuel; il est important d\u2019examiner leur construction et leur circulation sur leur petit \u00e9cran. En d\u00e9pit d\u2019une litt\u00e9rature fort charg\u00e9e s\u2019int\u00e9ressant \u00e0 la repr\u00e9sentation des femmes \u00e0 la t\u00e9l\u00e9vision, il existe peu de travaux sur la mise en sc\u00e8ne corollaire de la maternit\u00e9. Cet article retrace dans un premier temps les travaux existants, puis explore les applications possibles de ces recherches quant \u00e0 la repr\u00e9sentation des m\u00e8res dans les soap-opera<\/em>, les com\u00e9dies de situation, les s\u00e9ries pour adolescents, les com\u00e9dies dramatiques, et la t\u00e9l\u00e9-r\u00e9alit\u00e9. On y voit \u00e9merger les fa\u00e7ons dont un consensus se forme dans le paysage t\u00e9l\u00e9visuel alors que chaque repr\u00e9sentation cherche \u00e0 n\u00e9gocier la diff\u00e9rence entre une maternit\u00e9 id\u00e9ale, et une \u00ab\u00a0maternit\u00e9 acceptable\u00a0\u00bb qui pour sa part se distancierait de la perfection inatteignable pr\u00f4n\u00e9e dans le domaine plus vaste du spectacle en g\u00e9n\u00e9ral.<\/p>\nMotherhood and the Media under the Microscope: The Backlash Against Feminism the Mommy Wars\u00a0|Kim Akass<\/p>\n
Malgr\u00e9 les l\u00e9gislations contre la discrimination des sexes qui s\u2019accumulent, la difficult\u00e9 d\u2019harmoniser maternit\u00e9 et occupations professionnelles n\u2019en occupe pas moins le haut du pav\u00e9 et continue de faire actualit\u00e9. Cet article examine le ph\u00e9nom\u00e8ne m\u00e9diatique am\u00e9ricain connu sous le nom de \u00ab\u00a0mommy wars<\/em> \u00bb et s\u2019interroge sur la distinction entre les d\u00e9fis de la maternit\u00e9 en Angleterre et aux \u00c9tats-Unis.<\/p>\nTea with Mother: Sarah Palin and the Discourse of Motherhood as a Political Ideal |Janet McCabe<\/p>\n
Tr\u00e8s peu d\u2019individus ont fait une apparition aussi inattendue et spectaculaire que celle de Sarah Palin sur la sc\u00e8ne politique am\u00e9ricaine. Avec elle ont surgi des traits in\u00e9dits dans une campagnes pr\u00e9sidentielle\u00a0: ceux de la hockey mom<\/em>, de la chasse au caribou, de la femme pugnace mais fard\u00e9e utilis\u00e9s comme des arguments partisans. Cela sans oublier les enfants Palin mis \u00e0 contribution\u00a0: Track, 19 ans, attendant son affectation militaire en Irak, Bristol, fille-m\u00e8re \u00e0 17 ans, et Trig, un b\u00e9b\u00e9 trisomique de six mois. Une image si orient\u00e9e de la maternit\u00e9 n\u2019avait jamais auparavant \u00e9t\u00e9 impliqu\u00e9e dans une campagne politique aux \u00c9tats-Unis. La vigueur g\u00e9n\u00e9tique s\u2019y est vue transform\u00e9e en \u00e9nergie politique, et la maternit\u00e9 en un id\u00e9al politique intoxicant. Cet article se concentre sur la fa\u00e7on dont l\u2019image d\u2019une \u00ab\u00a0rugged Alaskan motherhood\u00a0\u00bb (PunditMon 2008) est devenue si cruciale dans la personnalit\u00e9 m\u00e9diatique de Sarah Palin, et sur ce qu\u2019une telle image peut nous apprendre quant aux relations entre la maternit\u00e9 comme id\u00e9al, la politique am\u00e9ricaine, et les m\u00e9dia.<\/p>\nAdult Fear and Control: Ambivalence and Duality in Clive Barker\u2019s\u00a0The Thief of Always <\/em>| Gabrielle Kristjanson<\/p>\nCet article analyse le rapport entre le texte et les illustrations dans le livre pour enfants de Clive Barker intitul\u00e9 The Thief of Always: A Fable<\/em>. Barker a \u00e9crit cette histoire d\u2019enl\u00e8vement dans le contexte social de la peur du pr\u00e9dateur d\u2019enfants au d\u00e9but des ann\u00e9es 90. Il y a mis en sc\u00e8ne les id\u00e9es d\u2019un m\u00e9chant monstrueux, de la perte de l\u2019innocence enfantine, et des d\u00e9sirs insatiables. En tant que fable, le livre est un conte de mise en garde, qui non seulement enseigne que l\u2019enfance est pr\u00e9cieuse, \u00e9tant n\u00e9cessaire pour chaque enfant qui ne doit pas la gaspiller paresseusement, mais aussi qu\u2019il existe un danger que certains adultes peuvent poser face aux enfants. Une r\u00e9flexion sinc\u00e8re sur les d\u00e9sirs sexuels adultes face aux enfants \u00e9tant probl\u00e9matique parce qu\u2019elle d\u00e9pouille l\u2019innocence qu\u2019on cherche \u00e0 prot\u00e9ger. Barker a donc d\u00fb sublimer une telle le\u00e7on dans le r\u00e9cit. Ce sont alors les illustrations et leur rapport au r\u00e9cit \u00e0 la fois corroborant et contractif qui r\u00e9v\u00e8lent une ambivalence cach\u00e9e du personnage enfant, ainsi qu\u2019une dualit\u00e9 pr\u00e9sente dans les deux personnages\u00a0: l\u2019enfant et le pr\u00e9dateur d\u2019enfants.<\/p>\n\u00c0 propos des contributeurs<\/h4>\n
Akass, Kim<\/strong> est lecturer<\/em> en \u00e9tudes cin\u00e9matographiques et t\u00e9l\u00e9visuelles \u00e0 l\u2019Universit\u00e9 de Hertfordshire. Elle a co\u00e9dit\u00e9 et contribu\u00e9 aux ouvrages collectifs Reading Sex and the City<\/em> (IB Tauris, 2004), Reading Six Feet Under<\/em>: TV To Die For<\/em> (IB Tauris, 2005), Reading The L Word: Outing Contemporary Television<\/em> (IB Tauris, 2006), Reading Desperate Housewives: Beyond the White Picket Fence<\/em> (IB Tauris, 2006), et Quality TV: Contemporary American TV and Beyond<\/em> (IB Tauris, 2007). Elle m\u00e8ne actuellement des recherches sur la repr\u00e9sentation de la maternit\u00e9 dans les m\u00e9dia. Elle est co-fondatrice de la revue d\u2019\u00e9tudes t\u00e9l\u00e9visuelles Critical Studies in Television: The International Journal of Television Studies<\/em> (MUP), \u00e9ditrice ex\u00e9cutive de CSTonline, et \u00e9ditrice associ\u00e9e de la s\u00e9rie \u00ab\u00a0Reading Contemporary Television\u00a0\u00bb chez IB Tauris dont le plus r\u00e9cent ouvrage TV\u2019s Betty Goes Global: From Telenovela to International Brand<\/em> est paru en 2012.<\/p>\nEsan, Oluyinka<\/strong> est reader<\/em> \u00e0 la School of Film and Media de l\u2019Universit\u00e9 de Winchester, UK. Elle m\u00e8ne des recherches sur les pratiques de production m\u00e9diatique et la r\u00e9ception des messages m\u00e9diatiques, en particulier chez les femmes et les enfants. Ces travaux s\u2019inscrivent dans le cadre plus large de ses int\u00e9r\u00eats pour la pertinence et l\u2019impact sociaux des messages m\u00e9diatiques. \u00c0 travers ses travaux empiriques en contextes non occidentaux, Oluyinka sugg\u00e8re des perspectives neuves \u00e0 m\u00eame d\u2019enrichir nos conceptions des pratiques m\u00e9diatiques et filmiques. Ses travaux les plus r\u00e9cents examine la notion de plaisir spectateur en lien avec diff\u00e9rents \u00e9chelles de mise en valeur des pratiques cin\u00e9matographiques (Nolywood). Elle est l\u2019auteure de Nigerian Television, Fifty Years of Television in Africa<\/em> (AMV Publishers Princeton NJ, 2009). Elle travaille actuellement \u00e0 l\u2019\u00e9criture d\u2019un nouveau livre intitul\u00e9 Watching Television: What Nigerian Children Want<\/em>. Elle a organise la table-ronde \u00ab\u00a0Media and Mothers\u2019 Matters\u00a0\u00bb (Octobre 2011) dans laquelle ont \u00e9t\u00e9 pr\u00e9sent\u00e9es les premi\u00e8res versions des articles du pr\u00e9sent dossier.<\/p>\nFeasey, Rebecca<\/strong> est senior lecturer<\/em> en communications, cin\u00e9ma, et m\u00e9dia \u00e0 l\u2019Universit\u00e9 de Bath Spa. Elle a fait para\u00eetre de nombreux textes sur la culture de la c\u00e9l\u00e9brit\u00e9, le star-system hollywoodien contemporain, et la repr\u00e9sentation des sexes dans la culture m\u00e9diatique populaire. Elle a publi\u00e9 dans des revues comme le Quarterly Review of Film and Video<\/em>, le Journal of Popular Film and Television<\/em>, le Journal of Gender Studies<\/em>, Continuum: Journal of Media & Cultural Studies<\/em> et le European Journal of Cultural Studies<\/em>. Elle est d\u2019autre part auteure d\u2019\u00e9tudes approfondies sur la masculinit\u00e9 et la culture t\u00e9l\u00e9visuelle populaire (EUP, 2008), ainsi que la maternit\u00e9 au petit \u00e9cran (Anthem, 2012). Elle r\u00e9dige actuellement une monographie sur les interpr\u00e9tations par des m\u00e8res de la maternit\u00e9 t\u00e9l\u00e9visuelle (\u00e0 para\u00eetre chez Peter Lang, 2015).<\/p>\nKristjanson, Gabrielle<\/strong> :\u00a0est doctorante \u00e0 l\u2019Universit\u00e9 de Melbourne en Australie (\u00e0 l\u2019\u00e9cole de la culture et de la communication). Elle est titulaire d\u2019un baccalaur\u00e9at \u00e8s sciences et d\u2019une ma\u00eetrise \u00e8s arts de l\u2019Universit\u00e9 de l\u2019Alberta au Canada. Elle m\u00e8ne des recherches dans les domaines de la manifestation de la panique morale et de la monstruosit\u00e9 criminelle dans la litt\u00e9rature occidentale. Sa th\u00e8se se concentre sur les repr\u00e9sentations fictives du pr\u00e9dateur d\u2019enfants dans la litt\u00e9rature adulte et de jeunesse.<\/p>\nMcCabe, Janet<\/strong> est lecturer<\/em> en \u00e9tudes des films, de la t\u00e9l\u00e9vision, et des industries de la cr\u00e9ation \u00e0 l\u2019Universit\u00e9 Birkbeck de Londres. Elle est \u00e9ditrice de Critical Studies in Television<\/em> et a \u00e9crit sur le f\u00e9minisme, la m\u00e9moire culturelle et politique de la t\u00e9l\u00e9vision. Elle a co\u00e9dit\u00e9 plusieurs ouvrages collectifs, dont Quality TV: Contemporary American TV and Beyond<\/em> (2007) et Reading Sex and the City<\/em> (2004). Ses plus r\u00e9cents travaux sont The West Wing<\/em> (2012) et TV\u2019s Betty Goes Global: From Telenovela to International Brand<\/em> (2012; avec Kim Akass).<\/p>\nMoore, Syd<\/strong> est l\u2019auteure de The Drowning Pool<\/em> et de Witch Hunt<\/em>, deux romans qui centr\u00e9s sur les chasses aux sorci\u00e8res d\u2019Essex. Elle travaille actuellement \u00e0 son troisi\u00e8me livre, intitul\u00e9 The Sacrifice<\/em>. Avant d\u2019entamer une carri\u00e8re en \u00e9ducation, elle a \u0153uvr\u00e9 longuement dans le monde de l\u2019\u00e9dition, en dirigeant notamment l\u2019\u00e9mission sur la litt\u00e9rature de Channel 4 <\/em>: \u00ab\u00a0Pulp\u00a0\u00bb. Elle est fondatrice du d\u00e9funt magazine sur l\u2019art et la culture Level 4<\/em>, et co-cr\u00e9atrice de Superstrumps<\/em>, un jeu ax\u00e9 sur la r\u00e9appropriation des st\u00e9r\u00e9otypes de la f\u00e9minit\u00e9. Quand elle n\u2019\u00e9crit pas, Syd \u0153uvre aupr\u00e8s de Metal Culture<\/em>, un organisme pour la promotion d\u2019\u00e9v\u00e9nements culturels et artistiques et le d\u00e9veloppement de programmes en litt\u00e9rature.<\/p>\nWigmore, Heidi<\/strong> est artiste visuelle et lecturer<\/em> en Beaux-Arts. Elle a \u00e9tudi\u00e9 \u00e0 la Norwich School of Arts et obtenu une ma\u00eetrise de la University of East London en 2001. Ses travaux sont bas\u00e9s sur le dessin mais demeurent multidisciplinaires en incorporant l\u2019installation, ainsi que des accessoires et des extraits filmiques. Son imagerie est \u00e0 la fois figurative et disloqu\u00e9e, et elle s\u2019int\u00e9resse aux imitations toujours forc\u00e9ment imparfaites de la figure humaine telles que la poup\u00e9e, le mannequin et le pantin. Parmi ses projets publics on trouve notamment \u00ab\u00a0Independant Free State\u00a0\u00bb, un d\u00e9tournement temporaire de panneau publicitaire au c\u0153ur de Londres qui explorait la forme f\u00e9minine en tant que carte\/territoire, ainsi qu\u2019une s\u00e9rie de cabines de plage transform\u00e9es au South Bank Centre pour l\u2019\u00e9dition 2011 du Festival of Britain<\/em>. Elle a \u00e9t\u00e9 lecturer<\/em> \u00e0 l\u2019Universit\u00e9 de Essex et \u00e0 la Angela Ruskin University. Elle dirige actuellement des ateliers en collaboration avec le English National Ballet, et occupe la position d\u2019\u00e9valuatrice artistique pour le Arts Council England.<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"
Imaginations 4-2 |\u00a0Media and Mothers’ Matters Guest Editor Oluyinka Esan Table of Contents Artist Interview\u2014Superstrumps: the Card Game with a Mission\u00a0|\u00a0Syd Moore and Heidi Wigmore\u00a0in Conversation with Oluyinka Esan From Soap Opera to Reality Programming:\u00a0Examining Motherhood, Motherwork and the Maternal Role on Popular Television\u00a0|\u00a0Rebecca Feasey Motherhood and the media under the Microscope: The backlash against […]<\/p>\n","protected":false},"author":4062,"featured_media":5035,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[104,4],"tags":[],"class_list":["post-4746","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-media-and-mothers-matters-4-2","category-article","wpautop"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/imaginations.space\/wp-content\/uploads\/2013\/11\/Imaginations4_2_Prelim_Cover-copy-e1432826353414.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p707hj-1ey","_links":{"self":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/4746","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/users\/4062"}],"replies":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4746"}],"version-history":[{"count":31,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/4746\/revisions"}],"predecessor-version":[{"id":8616,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/4746\/revisions\/8616"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/media\/5035"}],"wp:attachment":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4746"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4746"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4746"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}