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This paper examines the social and ideological significance of selfies as a manifestation of networked culture and individualism. The aim is to illustrate the meaning and affordances of selfies by investigating their potential for (post)feminist empowerment.

The analysis entails an exploration of the form, content, and context of (post)feminist selfies. This includes a review of popular expressions of selfie-empowerment as well as an in-depth ideological analysis of several revealing case studies.

As a result, this paper identifies a (dis)empowerment paradox marked by a divide between material and affective conceptions of empowerment. According to this paradox, self(ie)-expressions may feel empowering to the individual(s) controlling the camera while concurrently conforming to hegemonic norms – a trend which is particularly pertinent to many networked selfies shared via social media. Accordingly, the paper concludes by critiquing the discourse of selfie-empowerment and considering the significance of cultural context in shaping meaning and ideology.

By addressing these implications in light of broader shifts toward networked individualism and post-feminism, this paper critically examines the ideological significance of selfies and demonstrates a need to reconsider what sociological perspectives can contribute to the study of selfies within the context of networked cultures.

This study aims to explore how a postmodern tribe enacts and re-interprets ideologies as a part of consumers’ collective experience, to enhance our understanding of consumer communities in conjunction with ideological capacities.

The community of “presenteers” is conceptualized as a self-organized tribe with heterogeneous components that generate capacities to act. Netnographic observation was conducted on 18 presenteer accounts and lasted around six months. Real-time data were collected by taking screenshots of the posts and stories that these users created and publicly shared. Data were analysed by adopting assemblage theory, combining inductive and deductive approaches. Firstly, a qualitative visual-textual content analysis of the tribe’s defining components was conducted. Then, the process continued with the thematic analysis of the ideological underpinnings of the tribe’s enactments.

Findings shed light on the ways in which consumer communities interpret the entanglement of religious, political, and cultural ideologies in shaping their experiences. In the case of the presenteers tribe, findings reflect a novel ideological interplay between neo-Ottomanism, post-feminism and consumerism.

The study offers a deep dive into a unique tribe that is being organized around the consumer-created practice of “presenteering” and investigates consumer communalization in alignment with the ideological turn in culture-oriented interpretative research on consumers, consumption, and markets. This exploration helps to bridge the research on the communalization of consumers with the recent discussions of ideology in the postmodern market.

The study offers a deep dive into a unique tribe that is being organized around the consumer-created practice of “presenteering” and investigates consumer communalization in alignment with the ideological turn in culture-oriented interpretative research on consumers, consumption, and markets. This exploration helps to bridge the research on the communalization of consumers with the recent discussions of ideology in the postmodern market.

This chapter analyses the pilot episode of the ABC TV series Charlie's Angels (Spelling & Goldberg, 1976–1981) and the latest film of this media franchise, Charlie's Angels (Banks, 2019). The chapter undertakes an analysis of the three main characters in the series pilot and the three starring roles in the film, applying methodologies proposed by the cinematic poetic formalism (Bordwell & Thompson, 2006) and observing specifically the roles and motivations of these six women from a feminist perspective. On the one hand, the TV pilot engages with several of the main premises of the second-wave feminism that was in full swing at the time the series was released. On the other hand, the 2019 film was launched in the contemporary era of post-feminism, reflecting a number of the concerns that shape the post-feminist agenda. However, the main argument of this chapter is that both the series pilot released in 1976 and the 2019 film construct ambivalent feminist narratives. The analysis reveals that the Charlie's Angels franchise fluctuates between characteristics that can be labelled as feminist discourses, but also as replicators of a patriarchal model. Forty-six years later, while a few things have changed for the Angels, we argue that the characters and franchise have not lived up to its potential as a transformative feminist text.

This article aims to develop the methodological and intellectual approach taken in the authors' co‐authored book to explore the synergies and disconnections in the experience of being in the academy at different historical moments using the inter‐relationship between different feminisms in the context of the authors' lived experiences as a mother and daughter whose experience of the academy has crossed second‐wave feminism into third wave. There have been significant demographic, cultural and legislative shifts, but the authors' conversations demonstrate the endurance of imbalances of power and the continuing need for a feminist politics of difference which can engage with contemporary life in the academy.

This is primarily a theoretical paper that adopts feminist approaches to reflection and dialogue. The article is designed to bring together lived experience across generations, feminist theories and methodologies and the implications for activism. The paper uses the device of “I‐Kath I‐Sophie” as part of an autoethnographic approach to the cross‐generational conversation.

Far from being redundant, the authors argue that feminist critiques of inequalities that are often manifest in women's invisibility and silence even in the academy in the twenty‐first century – there is still the need to support a politics of difference and to explore ways of giving women a voice. The persistence of inequalities means that feminist battles have not been entirely won. The authors argue for dialogue between the feminisms of mothers and daughters.

Feminist concepts and arguments from what has been called the “second wave” are still useful, especially in relation to maintaining the category woman as a speaking subject who can engage in collective action.

The authors' arguments support the continuation of spaces for women to share experience within the academy, for example in feminist reading groups and through women's networks.

Feminist theories and activism remain important political forces for women in the academy today and post feminism is a questionable conceptualisation and phenomenon. In times when feminist battles may seem to have been won there remain issues to explore in relation to a new problem with no name.

The article is original in its authorship, methodological approach to a conversation that crosses experience and theoretical frameworks across generations and in its support for a twenty‐first century politics of difference.

This study aims to explore consumption practices of new middle-class Indian women to explicate how they are challenging traditional social norms and redefining their identity through their consumption practices.

A total of 32 semi-structured and photo-elicitation interviews were conducted with new middle-class women between the age group of 23 and 40 years in India.

This study illustrates how the doing of consumption practices that involve creating, controlling, knowing and transforming is enabling new middle-class Indian women to undo gender disparities embedded in hegemonic patriarchal social order. Also, the study provides new insights into how class and symbolic capital intersect gender to redefine middle-class women’s feminine self.

This study specifically illustrates how new middle-class women are using consumption practices to uplift their position in household; bring about new modes of social interface; and identity expression and a reversal in gender roles.

The conflation of women’s independence with consumerism underlines the need for marketers to position consumer goods in a manner that strengthens women’s self and alleviates cultural perceptions of women as subordinate to men in the household. Indian market has considerable growth potential for publicly visible brands that affirm the elevated social status of women and allow them to effectively demonstrate their capital resources.

An under-researched consumer segment is explored by focusing particularly on the intersection of discourses of women’s individuality with that of their consumption practices. Additionally, pioneering use of photo-elicitation technique coupled with hermeneutic approach enabled to elicit effectively women’s reflections on their behaviours, values and motivations underlying their consumption practices.

There are three main analytic challenges to studying kids, especially where the core focus is inequality: (1) minimizing the power imbalance between adults/researchers and kids/participants, (2) attending to the active and imaginative communication styles of young people, and (3) getting beneath the superficial rhetoric of meritocracy, colorblindness, and post-feminism. In this chapter, we draw from our own qualitative insights when studying middle school kids (grades 6–8, ages 11–14) in providing a systematic analysis of the effectiveness of distinct visual strategies and their respective strengths and limitations for producing rich, useful, and specific data. The insights gleaned are applicable to analyses of kids, understandings of inequality, and even methodological training.

This paper aims to be a critical reflection on the author's position as a Black female academic in the academy, and comes from a motivation to raise Black consciousness about the importance of Black feminist scholarship.

The author identifies the unique position of Black feminism, which has had to define itself apart from second‐wave feminism of the 1970s, which marginalised non‐White women and the Civil Rights movement, which marginalised women. The oppression faced by Black feminists is apparent in the shifting platforms of identity that Black feminists occupy in the academy. Another obstacle is the restricted and incomplete picture of feminism in the academy, which sidelines Black feminist writing. One of the ways to raise awareness is to focus on the corpus of Black writing and to re‐position it within academic core curricula, rather than relegating it to specialised courses.

It is found that Black feminism is marginalised in the academy in scholarship and representation. It is also found that students are more receptive to ideas about feminism when approaching the subject indirectly.

One limitation of the study is an absence of theoretical literature from a UK context.

The paper highlights the marginalisation of Black feminism in the academy.

The subjects of “feminism in academia” and the representation of “Black and minority ethnics in the Academy” have been explored in scholarship. However the combination of these terms, namely the role of the Black feminist in the academy, is a comparatively unexplored subject. Hence, the originality of this paper.