Radio studies is an inherently feminist endeavor. Radio was long considered too commercial, too personal, too crowded with pop music, too frivolous, too … feminine to be taken very seriously either in academia or in the culture at large. My own introductions to radio studies and feminist radio studies were one and the same. Even before returning to graduate school, I happened upon Michele Hilmes's landmark 1997 study Radio Voices through the serendipity of an Amazon search. As others have noted before me, Hilmes masterfully mixes industrial and cultural history, with a heavy emphasis on gender. In her fifth chapter, “The Disembodied Woman,” she argues that gender is a “central conflict”...
Catherine Martin is a PhD candidate in Boston University's American and New England Studies Program. Her dissertation, “You Don't Have to Be a Bad Girl to Love Crime: Representations of Women in American Radio and Television Crime Programming, 1945–1978,” analyzes representations of women in radio and television crime programs, with an emphasis on cultural depictions of women's labor between World War II and the emergence of second wave feminism. She currently serves as graduate representative for the Radio Preservation Task Force, and her work has appeared in the Velvet Light Trap.
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Catherine Martin; Radio. Feminist Media Histories 1 April 2018; 4 (2): 173–178. doi: https://doi.org/10.1525/fmh.2018.4.2.173
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