Action Chicks pp 181-206 | Cite as
No Cage Can Hold Her Rage? Gender, Transgression, and the World Wrestling Federation’s Chyna
Abstract
The November 2000 issue of Playboy features a muscular woman dressed in black leather, standing with hands on hips, glaring out at the reader. She is not the typical cover girl. Her aggressive stance, her confident and direct gaze out at the reader, and her muscular body do not conform to the ideal of femininity usually promoted by Playboy. The woman is Joanie Laurer, otherwise known as World Wrestling Federation superstar Chyna. Since her first appearance on the WWF in February 1997, Chyna made the transition from an oddity in the traveling freak show of the WWF to a household name. As professional wrestling moved from alternative entertainment to the mainstream during the last few years, she also traveled from the fringes to the center, appearing on mainstream magazine covers, prime-time TV series like Third Rock from the Sun, and even The Tonight Show. Her best-selling autobiography, If They Only Knew, was published in 2001.1 Chyna, like other “powerful” women in the media such as Xena and Buffy, is “cool.”
Keywords
Female Manager Sexual Object Sexual Appeal Feminine Behavior Feminine NormPreview
Unable to display preview. Download preview PDF.
Notes
- 1.Chyna with Michael Angeli, If They Only Knew (New York: Regan Books, 2001).Google Scholar
- 2.Rhonda V. Wilcox and David Lavery, Fighting the Forces: What’s at Stake in Buffy the Vampire Slayer (New York: Rowman & Littlefield, 2002);Google Scholar
- Sherrie A. Inness, Tough Girls: Women Warriors and Wonder Women in Popular Culture (Philadelphia: University of Pennsylvania Press, 1999).Google Scholar
- 3.Kathleen Rowe, The Unruly Woman: Gender, and the Genres of Laughter (Austin: University of Texas Press, 1995), 31.Google Scholar
- 6.Patricia Pender, “‘I’m Buffy and You’re History’: The Postmodern Politics of Buffy,” in Fighting the Forces: What’s at Stake in Buffy the Vampire Slayer, ed. Rhonda V. Wilcox and David Lavery (New York: Rowman & Littlefield, 2002), 43.Google Scholar
- 7.John Fiske, Understanding Popular Culture (Boston: Unwin Hyman, 1989), 82.Google Scholar
- 13.Richard Dyer, “Don’t Look Now,” Screen 23 (1982): 71.CrossRefGoogle Scholar
- 14.Yvonne Tasker, Spectacular Bodies: Gender, Genre and the Action Cinema (New York: Routledge, 1993), 111.Google Scholar
- 15.Richard Majors, Cool Pose: The Dilemma of Black Manhood in America (New York: Lexington Books, 1992);Google Scholar
- Jackson Katz and Jeremy Earp, Tough Guise: Violence, Media and the Crisis in Masculinity dir. Sut Jhally, Media Education Foundation, 1999, videocassette.Google Scholar
- 16.Sharon Mazer, Professional Wrestling: Sport and Spectacle (Jackson: University Press of Mississippi, 1998), 128.Google Scholar
- 17.Abigail M. Feder, “A Radiant Smile from the Lovely Lady: Overdetermined Femininity in ‘Ladies’ Figure Skating,” in Women on Ice, ed. Cynthia Baughman (New York: Routledge, 1995), 22.Google Scholar
- 18.Laurie Schulze, “On the Muscle,” in Building Bodies, ed. Pamela L. Moore (New Brunswick, NJ: Rutgers University Press, 1997), 9–30.Google Scholar
- 19.Vickie Rutledge Shields with Dawn Heinecken, Measuring Up: How Advertising Affects Self-Image (Philadelphia: University of Pennsylvania Press, 2002), 95–97; Rowe, 65.Google Scholar
- 26.Laura Mulvey, “Visual Pleasure and Narrative Cinema,” in Feminist Film Theory: A Reader, ed. Sue Thornham (New York: New York University Press, 1999), 64.Google Scholar
- 27.Beverly Skeggs, “A Good Time for Women Only,” in Deconstructing Madonna, ed. Fran Lloyd (London: B.T. Batsford, Ltd., 1993), 67.Google Scholar
- 29.Christine Holmlund, “Visible Difference and Flex Appeal: The Body, Sex, Sexuality and Race in the ‘Pumping Iron’ Films,” Cinema Journal 28, no. 4 (1989): 43.CrossRefGoogle Scholar
- 35.Moira Ferguson, Ketu H. Katrak, and Valerie Miner, “Feminism and Antifeminism: From Civil Rights to Culture Wars,” in Antifeminism in the Academy ed. Shirley Nelson Garner, Margaret Higonnet, and Ketu H. Katrak (New York: Routledge, 1996), 35–65, quoted in Hammer, “Anti-feminists as Media Celebrities.”Google Scholar
- 39.Jackson Katz, “Advertising and the Construction of Violent White Masculinity: From Eminem to Clinique for Men,” in Gender, Race, Class in Media: A Text Reader, 2d. ed., ed. Gail Dines and Jean Humez (London: Sage, 2002), 349–358.Google Scholar
- 40.Susan Bordo, Unbearable Weight: Feminism, Western Culture, and the Body (Berkeley: University of California Press, 1993), 195.Google Scholar
- 41.Bordo, 201; Bryan S. Turner, The Body and Society: Explorations in Social Theory, 2d. ed. (London: Sage, 1996), 24.Google Scholar
- 50.Patricia Hill Collins, “Pornography and Black Women’s Bodies,” in Gender, Race and Class in Media, ed. Gail Dines and Jean M. Humez (London: Sage, 1995), 282–283.Google Scholar
- 53.Jean Kilbourne, “‘The More You Subtract, the More You Add’: Cutting Girls Down to Size,” in Gender, Race, Class in Media: A Text Reader, 2d. ed., ed. Gail Dines and Jean Humez (London: Sage, 2002), 258–267.Google Scholar
- 60.Kathleen Rowe, “Roseanne: Unruly Woman as Domestic Goddess,” in Feminist Television Criticism: A Reader, ed. Charlotte Brunsdon, Julie D’Acci, and Lynn Spigel (Oxford: Clarendon Press, 1997), 77.Google Scholar