Table of Contents
List of Figures

Preface

Acknowledgements

List of Contributors

Introduction: Television for Women - what new directions?

Rachel Moseley, Helen Wheatley, Helen Wood

Part I: Women and Work

Chapter 1: Women’s History, Women’s Work: Popular Television as Feminine Historiography

Moya Luckett

Chapter 2: The Feminization of Contemporary British Television Drama: Sally Wainwright and Red Productions

Ruth McElroy

Chapter 3: "Women pushed their way forward and became quite a force within the BBC": Women’s roles in television production and the production of programmes for women

Vanessa Jackson

Part II: Women and Identity

Chapter 4: Catfight! Camp and Queer Visibility in Orange is the New Black

Dana A. Heller

Chapter 5: Brown Girls Who Don’t Need Saving: Social Media and the Role of ‘Possessive Investment’ in The Mindy Project and The Good Wife

Sujata Moorti

Chapter 6: Watching One Born Every Minute: Negotiating the terms of the ‘good birth’

Sara De Benedictis

Chapter 7: Sex, Class and Consumerism: British Sitcom’s Negotiation of the Single Girl

Vicky Ball

Part III: Formations of Women's Television

Chapter 8: Feminist Television or Television for Women? Revisiting the Launch of Canada’s Women’s Television Network

Sarah A. Matheson

Chapter 9: Tradition and Innovation: Italian Women’s Channels, Factual Entertainment and the Significance of Generation in Women’s Viewing Preferences

Cecilia Penati and Anna Sfardini

Chapter 10: Producing Domestic Abuse in Pakistani Television: Between Commerce, Ratings and Social Responsibility

Munira Cheema

Part IV: Women and the Home

Chapter 11: Television in the Ideal Home

Helen Wheatley

Chapter 12: "I’ve Been Having Fantasies about Regan and Carter Three Times a Week": Television, Women and Desire

Hazel Collie

Chapter 13: Dreaming of the ‘Good Life’: Gender, Mobility and Anxiety in Wanted Down Under

Jilly Boyce Kay and Helen Wood