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Chapter 13. Genre, performance and Sex and the City

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Abstract

This chapter explores the television series Sex and the City from a cultural studies perspective, and, in particular, through the notions of genre (Miller 1984) and performance (Butler 1990). It considers the ways in which the lead characters, Carrie, Samantha, Miranda and Charlotte, construct particular identities as they engage in the genre of casual conversation. The chapter argues that what, to some people, may seem natural in their interactions is a result of what Butler (1990: 33) calls “a set of repeated acts” and a “repeated stylisation of the body”. Sex and the City, we argue, provides an example of its lead characters doing gendered (and other identities) as they participate in the genre of casual conversation.

Abstract

This chapter explores the television series Sex and the City from a cultural studies perspective, and, in particular, through the notions of genre (Miller 1984) and performance (Butler 1990). It considers the ways in which the lead characters, Carrie, Samantha, Miranda and Charlotte, construct particular identities as they engage in the genre of casual conversation. The chapter argues that what, to some people, may seem natural in their interactions is a result of what Butler (1990: 33) calls “a set of repeated acts” and a “repeated stylisation of the body”. Sex and the City, we argue, provides an example of its lead characters doing gendered (and other identities) as they participate in the genre of casual conversation.

Kapitel in diesem Buch

  1. Prelim pages i
  2. Table of contents v
  3. Contributors ix
  4. Chapter 1. Introduction 1
  5. Part I. Cinematic discourse
  6. Chapter 2. Discourse analysis of film dialogues 21
  7. Chapter 3. Using film as linguistic specimen 47
  8. Chapter 4. Multimodal realisations of mind style in Enduring Love 69
  9. Chapter 5. Pragmatic deviance in realist horror films 85
  10. Chapter 6. Emotion and empathy in Martin Scorsese’s Goodfellas 105
  11. Chapter 7. Quantifying the emotional tone of James Bond films 125
  12. Chapter 8. Structure and function in the generic staging of film trailers 141
  13. Part II. Televisual discourse
  14. Chapter 9. “I don’t know what they’re saying half the time, but I’m hooked on the series” 161
  15. Chapter 10. The stability of the televisual character 185
  16. Chapter 11. Star Trek: Voyager ’s Seven of Nine 205
  17. Chapter 12. Relationship impression formation 225
  18. Chapter 13. Genre, performance and Sex and the City 249
  19. Chapter 14. Bumcivilian 263
  20. References 281
  21. List of tables 303
  22. List of figures 305
  23. Index of films and TV series 307
  24. Index 311
Telecinematic Discourse
Ein Kapitel aus dem Buch Telecinematic Discourse
https://doi.org/10.1075/pbns.211.16pal

Kapitel in diesem Buch

  1. Prelim pages i
  2. Table of contents v
  3. Contributors ix
  4. Chapter 1. Introduction 1
  5. Part I. Cinematic discourse
  6. Chapter 2. Discourse analysis of film dialogues 21
  7. Chapter 3. Using film as linguistic specimen 47
  8. Chapter 4. Multimodal realisations of mind style in Enduring Love 69
  9. Chapter 5. Pragmatic deviance in realist horror films 85
  10. Chapter 6. Emotion and empathy in Martin Scorsese’s Goodfellas 105
  11. Chapter 7. Quantifying the emotional tone of James Bond films 125
  12. Chapter 8. Structure and function in the generic staging of film trailers 141
  13. Part II. Televisual discourse
  14. Chapter 9. “I don’t know what they’re saying half the time, but I’m hooked on the series” 161
  15. Chapter 10. The stability of the televisual character 185
  16. Chapter 11. Star Trek: Voyager ’s Seven of Nine 205
  17. Chapter 12. Relationship impression formation 225
  18. Chapter 13. Genre, performance and Sex and the City 249
  19. Chapter 14. Bumcivilian 263
  20. References 281
  21. List of tables 303
  22. List of figures 305
  23. Index of films and TV series 307
  24. Index 311
Heruntergeladen am 16.4.2026 von https://www.degruyterbrill.com/document/doi/10.1075/pbns.211.16pal/html
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