The Important Differences Between Lena Dunham and Ilana Glazer: Jewish Women in the Public Eye There has been a considerable rise over the past ten. 'Lena Dunham's 'Girls': Can-Do Girls, Feminist Killjoys and Women Who Make Bad Choices. Anna Backman Rogers. Loading Preview. Sorry, preview is. Lena Dunham has been coined as the voice of the Millennial generation. Her multi-modal career, varying from her HBO sitcom Girls.
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colophon are registered trademarks of. Random House LLC. Illustrations by Joana Avillez. Library of Congress Cataloging-in-. Publication Data. Dunham, Lena. About the author: Lena Dunham is the creator of the critically acclaimed HBO series Girls, for which she also serves as executive producer. Page 1. "THE UNTITLED LENA DUNHAM PROJECT". PILOT (TOGETHER). Written by. Lena Dunham. 10/23/ Page 2. INT. MIDTOWN RESTAURANT.
Help Center Find new research papers in: This is the dilemma of Dunham as a persona and public example of the Jewish female author in media. Enter the email address you signed up with and we'll email you a reset link. Show all. Click here to sign up. Nash and Whelehan have gathered together a set of essays that move those debates on substantially and collectively illuminate a landmark TV series. Jewish Women in the Public Eye There has been a considerable rise over the past ten years of Jewish women portraying themselves with some amount of authoritative voice in media, their chosen forms of representation ranging anywhere from television shows to literature.
The pitch continues:. They have that mix of know-it-all entitlement and scathing self-deprecation that is the mark of all great Jewish comedians and many year-old women with liberal arts degrees.
Now this sounds like the Girls gang we know: We saw the dysfunctional and sometimes completely insufferable group struggle to grow up on screen. Dunham goes on to describe just a fraction of what we saw play out:.
After all, who can remember condoms every time? Could it be him? However, it is only Glazer that has persisted for audiences as a positive example of the modern Jewish woman since, Broad City and the public activism of Glazer and her writing partner, Abbi Jacobson making the overtone of Girls, and unfiltered candor of Dunham, look almost juvenile and antiquated in comparison.
There is the Jewish woman we allow, and the Jewish woman we do not, and they are both working in the same industry at the same time, with the same subject matter.
Lena Dunham is known for a lot of things, almost none of which are good news for her. Every few months she perpetrates a gaffe or lets pop a sound bite that gives social media a fiery rash and sets off a tribal war dance, and these cycles of outrage do grow wearisome.
The inspirational selling points of her individual journey are being flipped against her, which is hard to defend. In addition, the Girls version of New York, the one Dunham has penned, is an all together odd interpretation of the famously diverse city, because all of its characters are white, even those that are minor and less than minor. This is the dilemma of Dunham as a persona and public example of the Jewish female author in media.
Dunham has existed in the modern diaspora with an opaque veil over her eyes that has securely blinded her from experiencing difference, sure that both her Jewishness and womanhood replace the need for a real understanding of nuance and the necessity of carefulness when dealing with inclusivity in modern media.
There is a distaste for how she cares to interact with people unlike herself on both a personal and artistic level. Even deeper than the issue of sociopolitically charged dissent is something true to the heart of those she is publicly representing.
That is, the fear is of not only Dunham, but also her Girls character, the nervous, neurotic, selfish exhibitionist Hannah Horvath, possibly being seen as representations of what and who the modern Jewish woman is: Enter Ilana Glazer. Glazer is the co-creator of Broad City, which in wrapped its fifth and final season on network TV.
The show is about two Jewish friends, one of whom is not straight Ilana , and two external main characters, Lincoln and Jaime, who are both characters of color and developed, additive extremities in the psychedelic New York City that completely rejects the counter example of the Girls universe.
Broad City is in turn a show for not just women and people like Glazer Jewish women in New York , but a show for everyone that surrounds the stories of two Jewish women, both of whom are characterized as free spirited screw-ups that appreciate inclusion and face relatable issues that exist outside of the middle-upper class struggle like making rent, not being respected as an equal in the work place by higher ups, and navigating the social terrain of New York outside of their own network of friends or their own socioeconomic demographic.
All of these are chosen subjects that it is important to note are never issues dealt with in any prolonged, serious capacity in Girls, or by Dunham herself in any of her narrative features on her extensive resume.
Glazer is all that Dunham is not, and that includes in her social media and public persona even more so than in the art that she creates, which are both admirably more equipped for the consumption and understanding of larger audiences.
Broad City adds a touch of exposure to both the something independent female and the Jewish community from the lens of the life of two very funny and all together demonstratively accepting Jewish women.
The jokes of Broad City also reflect differences between Glazer and Dunham. The jokes do not happen at the expense of the characters insecurities or because of ignorance to the feelings of others outside of themselves, and they are not isolative.
They create a platform for comfortability for the viewer, for the Jewish woman hoping to be represented and given exposure in a non harmful or perpetuating way, and one that refreshingly is as genuine as it is intended to be. We have a dedicated site for Ukraine.
Nash , Meredith, Whelehan , Imelda Eds. The series features both familiar and innovative depictions of young women and men in contemporary America that invite comparisons with Sex and the City. It aims for a refreshed, authentic expression of postfeminist femininity that eschews the glamour and aspirational fantasies spawned by its predecessor.
This volume reviews the contemporary scholarship on Girls , from its representation of post-millennial gender politics to depictions of the messiness and imperfections of sex, embodiment, and social interactions.
This book provides diverse and provocative critical responses to the show and to wider social and media contexts, and contributes to a new generation of feminist scholarship with a powerful concluding reflection from Rosalind Gill.
It will appeal to those interested in feminist theory, identity politics, popular culture, and media. The contributors pass an insightful gaze onto a plethora of postfeminist anxieties, but also issues of production and reception in the context of television as a cultural industry. Nash and Whelehan have gathered together a set of essays that move those debates on substantially and collectively illuminate a landmark TV series.
Neoliberal Girls and Recessionary Postfeminism. Comment on Nudity in Girls.