By Ana Sofia Elias, Rosalind Gill, Christina Scharff

This quantity techniques questions on gender and the politics of visual appeal from a brand new viewpoint by means of constructing the idea of aesthetic labour. Bringing jointly feminist writing concerning the ‘beauty delusion’ with contemporary scholarship approximately new different types of paintings, the e-book means that during this second of ubiquitous images, social media, and 360 measure surveillance, girls are more and more required to be 'aesthetic entrepreneurs’, conserving a continuing kingdom of vigilance approximately their visual appeal. the gathering exhibits that this paintings isn't just at the floor of our bodies, yet calls for a change of subjectivity itself, characterized via notions of private selection, risk-taking, self-management, and person accountability. The publication comprises analyses of on-line media, good looks carrier paintings, woman genital plastic surgery, educational style, self-help literature and the seduction neighborhood, from a number of nations.

Discussing good looks politics, postfeminism, neoliberalism, labour and subjectivity, the booklet might be of curiosity to students and scholars with an curiosity in Gender, Media reviews, Cultural reports, Sociology, Social Psychology and administration Studies.

“This hugely attractive, clever, and wide-ranging assortment analyzes how, less than the self-governing mandates of neoliberalism, the calls for that ladies and girls keep watch over and keep an eye on their our bodies and visual appeal have escalated to new, unforgiving degrees. a unique energy of the e-book is its emphasis at the upward thrust of ‘aesthetic labour’ as an international, transnational and ever-colonizing phenomenon that seeks to brush up ladies of all races, a while and locales into its disciplinary grip. hugely recommended.”

-Susan J Douglas, University of Michigan, USA

the inherited accountability that continues to be women’s specific burden to manage.”

-Melissa Gregg, Intel company, USA

“This publication incisively conceptualizes how neo-liberalist and postfeminist traits are ramping up pressures for glamour, aesthetic, model, and physique paintings within the normal public. In a second whilst YouTube ‘makeup tips on how to’ video clips obtain hundreds of thousands of hits; what to put on and the way to put on it blogs clock substantial followings; and staying ‘on model’ is bought to us because the key to non-public and fiscal good fortune, ‘aesthetic entrepreneurship’ is sure to turn into a go-to notion for an individual trying to comprehend the profound shifts shaping exertions and existence within the 21st century.”

-Elizabeth Wissinger, City collage of recent York, USA

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2013) and as an embodied experience of being subject to a ‘checklist gaze’ in which young women describe being ‘checked out’ by others (Elias 2016). ’ The study of ‘filters’ and ‘beauty apps’ represents another area of increased interest in surveillance (Rettberg 2014; Wendt 2014). Located in a wider concern with self-monitoring and self-tracking and the ­‘quantified self ’ movement (see Lupton 2016; Neff and Nafus 2016), beauty apps might be understood as encouraging women to see and sur- 16 A.

17). As we have argued elsewhere (Gill and Elias 2014) LYB discourses are important and powerful because of the way they appear to interrupt the almost entirely normalised hostile judgment and surveillance of women’s bodies in contemporary media culture. As such, they may have a profound affective force for women more accustomed to being invited to relate to their own and other women’s bodies in terms of ‘flaws’ (spots, cellulite, dry skin) and ‘battles’, (with eating disorders, fat, self-esteem).

Her book Our Bodies, Ourselves won huge acclaim and several prizes; her research on cosmetic surgery remains a key text in gender studies—required reading for all our undergraduates—and her work on Tango also looks set to become a feminist classic. Thus, instead of ­revivifying old feminist battle lines characterised in terms of a marginalised voice speaking out against a feminist orthodoxy, we see it as both 1 Aesthetic Labour: Beauty Politics in Neoliberalism 21 more accurate and more productive to regard this as a debate within feminism, an indication of the energy and vitality of the field of beauty studies—a field that increasingly involves positive evaluations of femininity as well as critiques of it.

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