Abstract
In her thought-provoking book, 21st Century Media and Female Health, Fredrika Thelandersson explores the intricate relationship between media, female health, and societal constructs. Through a comprehensive analysis of various literary and cultural references, Thelandersson investigates how media representations have historically shaped and portrayed women's mental health, shedding light on their impact on the female psyche. This review critically examines the book, discussing its significance, intended audience, strengths, limitations, integration into existing literature, and implications for our understanding of mental health in the modern age.
Thelandersson's work is profoundly significant for several reasons. It illuminates the historical construction of female hysteria and mental illness, emphasizing the role of societal norms and gender expectations in shaping women's experiences. By tracing the evolution of the “madwoman,” from the Salpêtrière Hospital to the psychoanalytic clinic, the author underscores the sociocultural context as a major contributor to hysteria. This perspective challenges traditional views of mental illness and encourages readers to consider broader social implications.
Historically, women's experiences of sadness and mental distress were often categorized as pathologies, leading to institutionalization and confinement. However, in the early 21st century, there was a shift toward medicalization within a biochemical discourse, with psychotropic drugs and psychotherapy as prevalent solutions. Importantly, this contemporary pathologization occurs within a neoliberal framework, where individuals are seen as responsible for their own well-being. This perspective detaches health issues from larger structural inequalities, making it challenging to address societal and political aspects contributing to mental health challenges.
One of the most compelling aspects of the book is its discussion of societal influences on mental health. Thelandersson skillfully invokes Foucault's insights, demonstrating how society's organizing principle of subjectivity often revolves around the problematization of female sexuality. The book also delves into the transformation of the cultural image of the “madwoman.” It highlights the stark contrast between the upper middle-class or wealthy women who sought treatment at psychoanalytic clinics and the working-class women detained at institutions like the Salpêtrière. Anna O., for instance, came from a privileged background, hailing from a wealthy Orthodox Jewish family. Her experiences illustrated the gendered expectations and restrictions placed upon women. While her brother had the opportunity to pursue higher education, Anna O. was relegated to domestic chores.
Thelandersson's incorporation of this historical context adds depth to the book's examination of contemporary female mental health. It underscores the transformative impact of psychoanalysis on the understanding of the human psyche and sexual identity, contributing to a more comprehensive discussion of the evolving landscape of female mental health and its historical underpinnings. The book's exploration of the changing cultural image of the “madwoman” emphasizes the intersections of gender, class, and mental health, enriching the broader discourse on women's mental health in the 21st century. This critical perspective highlights that the root of female mental health issues often lies in societal mores rather than inherent vices, challenging long-held misconceptions.
The author examines the representation and discussion of mental health in popular women's and teen's fashion and lifestyle magazines, specifically focusing on Cosmopolitan and Teen Vogue. Thelandersson highlights the difference in the number of articles related to mental health in both magazines, with Teen Vogue publishing more than twice as many. This finding suggests Teen Vogue's greater prioritization of mental health awareness, which serves as an indicator of the magazines’ respective stances on this critical issue. The book also addresses traditional advice columns in these magazines, suggesting that the entire content can be seen as conveying advice in the broader context of “lifestyle media.” This distinction is crucial, as it implies that even in the absence of conventional advice columns, the magazines still contribute to the discourse of advice by shaping readers’ perceptions and behaviors.
Thelandersson also explores the contemporary discourse surrounding female mental health in the media, using examples of celebrities like Demi Lovato and Selena Gomez. The book emphasizes the significant role of suffering, dysfunction, or personal flaws in shaping celebrities’ narratives. It shows that these elements are often just as crucial as high achievement in shaping a celebrity's story. The narratives of celebrities who “make it through” reinforce values of individual autonomy and self-mastery, aligning with neoliberal ideologies of meritocracy and competitive individualism. Thelandersson also reveals that these narratives tend to be heavily gendered, favoring male stars, with their struggles often framed as fascinating, even heroic, while female celebrities grappling with similar issues are often stigmatized and viewed as tragic or unstable.
One of the book's most compelling findings is the transformation in the public perception of female celebrities who openly share their emotional struggles. Thelandersson highlights that this willingness to discuss mental health no longer tarnishes their personal brands but, instead, enhances their authenticity. Celebrities like Lovato and Gomez, who continually encounter obstacles and actively seek treatment, become more relatable and authentic to their fans. This shift signifies a marked departure from earlier times when such revelations could potentially harm a celebrity's image. Lana Del Rey's persona and her melancholic music also played a pivotal role in paving the way for a more direct expression of sadness in artists like Billie Eilish.
The book also explores the concept of “profitable vulnerability,” emphasizing that these narratives often focus on constant self-improvement, avoiding dwelling too long on the pain and struggles that are an inherent part of everyday life. Instead, they highlight the importance of relentless effort and resilience in the face of adversity.
Thelandersson's analysis, framed within the context of Orgad and Gill's Confidence Culture (2022), underscores the idea that the expression of vulnerability primarily serves to humanize the confident woman, contributing to the authenticity of their celebrity persona. The imperfect moments in the lives of celebrities like Lovato and Gomez ultimately reinforce their strong, independent identities and artistic brands. However, the situation becomes more complex when analyzing Del Rey, where her portrayal of sadness and vulnerability may deviate from the conventional model of resilience and bounce-back perfection. In an intimate media landscape, mental illnesses and personal challenges are acknowledged to demonstrate authenticity and foster stronger connections with fans and followers. However, these narratives are often couched within a broader context of self-optimization and improvement, where overcoming tragedy contributes to the prevailing message of resilience.
The book discusses the emergence of the sad girl on social media platforms like Tumblr and Instagram, exemplifying various ways of sharing disaffected and negative feelings online. These cases range from users who explicitly adopt the label of “sad girl” to those who simply express feelings of sadness. The book also draws attention to the distinction between peer-based and hierarchical groups, where some users maintain a relatively equal footing in terms of follower counts, while others take on the form of microcelebrities addressing a large audience.
Thelandersson incorporates Anna Gibbs’s (2013) concept of “affective resonance” to explain how emotions and affects are shared and amplified among users. The sharing of affective content resonates with others, creating a mutual “sad girl affect” that is specific to each platform and user subgroup. This shared affect gives rise to a “sad girl aesthetic” whose meaning may not be directly articulated but is inherently understood by the participants in its creation and maintenance. Furthermore, the book suggests that not only an affect and an aesthetic are being disseminated, but also a subjective figure of the sad girl. Drawing on Jack Bratich's (2014) insights into the Occupy Wall Street movement, the book posits that the figure of the sad girl constitutes a mediated subjective process. Through the sharing and reblogging of affective images, the sad girl emerges as a subject position that becomes available for users to inhabit. In essence, the sad girl culture is not just an affective phenomenon but also a shared experience, forming a distinct online community within which the subjective figure of the sad girl comes to life.
The book further delves into the concept of impasse, drawing upon the works of scholars like Lisa Blackman and Ann Cvetkovich. This notion emphasizes the productive possibilities inherent in negative states of being, aiming to destigmatize feelings of shame, melancholy, failure, depression, and anxiety. Impasse characterizes a state of both being stuck and holding potential for change, fostering a sense of hopefulness about the idea that slowing down or not immediately seeking solutions may be worth exploring. This concept aligns with the idea that individuals can rest in “bad” feelings without feeling pressured to immediately work to eliminate them. It provides an alternative perspective to prevailing narratives that urge individuals to overcome suffering swiftly and suggests that examining and processing the power structures influencing the potential for a healthy life is equally important. While the sad girls on Tumblr may not overtly engage in direct political discourse linking their suffering to structures of power, the concept of impasse allows for a nuanced exploration of their experiences.
Thelandersson delves into the complex interplay between humor, mental health, and well-being, challenging simplistic notions that humor universally eases suffering and stress. A 2019 study found that individuals diagnosed with depression tend to use self-defeating humor more than their nondepressed counterparts while also employing positive humor styles, such as affiliative and self-enhancing humor, less frequently (Kfrerer et al. 2019). This nuanced relationship between humor and mental health suggests that self-defeating humor, as observed in the examples from Tumblr sad girls, can, in some cases, be indicative of worsening or unchanged mental health issues. However, it is essential to recognize that the humor used by these individuals, particularly affiliative humor, can also function as a means of enhancing peer relationships by allowing them to jest about their shared experiences of living with depression and anxiety.
One of the book's notable strengths is its interdisciplinary approach, drawing from literature, psychology, and cultural studies. Thelandersson effectively weaves together diverse sources and theories to build a comprehensive argument. This book is intended for a wide range of readers, including scholars, students, healthcare professionals, and anyone interested in the intersection of media, gender, and mental health. It serves as a valuable resource for researchers looking to explore the cultural and historical dimensions of female mental health. Moreover, mental health practitioners can gain insights into the societal influences on their patients’ well-being, enabling more empathetic and effective care. Additionally, the book is beneficial for individuals interested in feminism, gender studies, and media studies. Thelandersson's analysis of how media portrays female mental health challenges conventional narratives and encourages critical thinking about the power dynamics at play in society.
While 21st Century Media and Female Health offers a compelling analysis of its subject matter, some limitations should be acknowledged. The book primarily focuses on Western societies, which may not fully represent the global complexities of female mental health and media in the Global South. A more global perspective would have added depth to the discussion. Furthermore, while Thelandersson explores the media's role in shaping perceptions of female mental health, a more in-depth analysis of media's potential for both harm and positive change would have enhanced the book's overall impact. For example, how the media can perpetuate stigmas but also provide a platform for advocacy and awareness.
21st Century Media and Female Health by Thelandersson offers a thought-provoking exploration of the relationship between contemporary media, female mental health, and the concept of suffering. The book challenges us to reconsider the construction of mental illness and its relationship with gender and societal norms. By emphasizing the role of media in shaping perceptions of female mental health, the book underscores the need for responsible and empathetic reporting on these issues and encourages a more compassionate and inclusive approach to mental health care. Thelandersson's exploration is intriguing and provides insight into the emotional burdens that uphold power structures within the context of neoliberalism. Thelandersson's interdisciplinary approach and her analysis of the shift from psychotherapy to bio-psychiatry and its impact on gender and family norms are stimulating. The book makes a valuable contribution to the ongoing dialogue on gender, mental health, and media studies, providing a fresh and critical perspective on these important issues.
