My research examines how, when and why feminism happens on screen.
Macrossan, Phoebe and Jessica Ford. (2022) “Duets and the demands of country music: Contradictory feminisms in Nashville.” The Journal of Popular Culture, vol. 55, no. 2.
Ford, Jessica and Amy Boyle. (2021) “The Emotional Detective: Gender, Violence and the Post-Forensic TV Crime Drama.” MAI: Feminism and Visual Culture, vol. 7.
Ford, Jessica. (2019) “Women’s indie television: The intimate feminism of women-centric dramedies.” Feminist Media Studies, vol. 19, no. 7, pp. 928-943.
Ford, Jessica and Phoebe Macrossan. (2019) “The musical number as feminist intervention in Crazy Ex-Girlfriend.” Australasian Journal of Popular Culture, vol. 8, no. 1, pp. 55-69.
Ford, Jessica. (2018) “Rebooting Roseanne: Feminist voice across decades.” M/C Journal, vol. 21, no. 5.
Ford, Jessica. (2018) “Feminist cinematic television: Authorship, aesthetics and gender in Pamela Adlon’s Better Things.” fusion journal, vol. 14, pp. 16-29.
Ford, Jessica. (2016) “The ‘smart’ body politics of Lena Dunham’s Girls.” Feminist Media Studies, vol. 16, no. 6, pp. 1029-1042.
Ford, Jessica. (2022) “Wentworth, Orange is the New Black and contemporary media feminisms: Systemic inequality and individual responsibility.” TV Transformations and Transgressive Women: From Prisoner: Cell Block H to Wentworth, edited by Radha O’Meara, Tessa Dwyer, Stayci Taylor and Craig Batty. Oxford, UK: Peter Lang, pp. 193-209.
Ford, Jessica and Martin Zeller-Jacques. (2022) “You Can’t Go Home Again: The Recuperative Reboot and the Trump Era Sitcom.” American Television During a Television Presidency, edited by Karen McNally. Detroit, MI: Wayne State University Press, pp. 275-290.
Ford, Jessica. (2021) “Women’s indie television: The intimate feminism of women-centric dramedies.” Independent Women: From Film to Television, edited by Claire Perkins and Michele Schreiber. London: Routledge. [Reprint, first published in Feminist Media Studies]
Ford, Jessica. (2020) “Popular feminism and television stardom in Hallmark’s original made-for-television movies.” The Hallmark Channel: Essays on Faith, Race and Feminism, edited by Emily L. Newman and Emily Witsell. Jefferson, NC: McFarland, pp. 32-49.
Ford, Jessica. (2020) “Can prison be a feminist space?: Interrogating television representations of women’s prisons,” The Palgrave Handbook of Incarceration in Popular Culture, edited by Marcus Harmes, Meredith Harmes and Barbara Harmes. London: Palgrave Macmillan, pp. 613-626.
Ford, Jessica. (2019) “At the fringes of TV: Liminality and privilege in Netflix’s original scripted dramedy series,” Netflix at the Nexus: Content, Practice, and Production in the Age of Streaming Television, edited by Amber M. Buck and Theo Plothe. New York, NY: Peter Lang, pp. 97-112.
Ford, Jessica. (2018) “Negotiating creative feminine labor on family television: Are Jane By Design and Bunheads riding a new feminist wave?” ABC Family to Freeform TV: Essays on the Millennial-Focused Network and its Programs, edited by Emily L. Newman and Emily Witsell. Jefferson, NC: McFarland, pp. 84-98.
Ford, Jessica. (2014) “Feminist and postfeminist discourses: Reading the Britta problem.” A Sense of Community: Essays on the Television Series and its Fandom, edited by Ann-Gee Lee. Jefferson. NC: McFarland, pp. 82-97.
Ford, Jessica. (2012) “Coming out of the broom closet: Willow’s sexuality and empowerment in Buffy.” Joss Whedon: The Complete Companion, edited by Mary Alice Money. London: Titan Books, pp. 93-102.