'Geraghty, a pioneer in the field, provides a clearly argued,accessible account of a decade of feminist media scholarship whichis informed by an exhaustive knowledge of, and pleasure in, thesoaps of the period'. Charlotte Brunsdon, Film Studies,University of Warwick
'Women and Soap Opera is the most complete, deeplythought through and far-seeing work yet written on soap operas.Christine Geraghty's prose is elegant, lucid and accessible withoutsacrificing complexity ... finely nuanced andthought-provoking.'
Maria La Place, University of California
'As one of the pioneers of the study and appreciation of soapopera, Geraghty writes from a long term-engagement both with theform and with the individual programmes she discusses.' Screen,1992
'The book is well-written and researched, summarizing much ofthe previous feminist work in the field... suitable for thegeneral, as well as the academic reader.' American LibraryAssociation
'A useful overview of the literature an soaps and relatedwomen's genres.' Media Information Australia
From the Back Cover
This is the first major study of the roles of women in prime timesoap operas. In a comparative analysis of British and NorthAmerican television soaps, Christine Geraghty examines therelationship between the narratives on the screen and the womenviewers who make up the traditional soap audience.
Within the structure of many of the most popular soaps, such asDallas, Dynasty, Coronation Street and EastEnders,the split between public and personal life, reason and emotion,work and leisure is turned into a lynchpin of the plot. The authorargues that these themes are also linked to broader socialdivisions between men and women, divisions which soap operas bothquestion and develop as a source of pleasure.
Geraghty analyses the critical role of women characters in thefamilies and communities of soaps and suggests that the utopianpossibilities of soaps can be used not just to maintain the statusquo, but to promote change and influence attitudes and prejudices.She examines the way in which soaps have been transformed in thelast decade, looking at how issues of class, race, sexualorientation and feminism have been handled in the programmes. Sheargues that in pursuing new audiences more recent soaps such asBrookside may have put at risk the pleasures they havetraditionally offered their women viewers.
Women and Soap Opera is a detailed, thoughtful andwide-ranging analysis which will become a central work inwomen’s studies and media and cultural studies courses.