TY - JOUR
T1 - 'Grey is the new green'?
T2 - Gauging age(ing) in Hollywood’s upper quadrant female audience, The Intern (2015), and the discursive construction of 'Nancy Meyers'
AU - Jermyn, Deborah
N1 - Deborah Jermyn is Reader in Film and Television at the University of Roehampton and has published widely on issues relating to women, feminism, popular culture and celebrity studies. Of late this work has often particularly focused on ageing femininities, and she is the editor of Female Celebrity and Ageing: Back in the Spotlight (2014) and co-editor (with Su Holmes) of Women, Celebrity and Cultures of Ageing: Freeze Frame (2015). Most recently, she is the author of Nancy Meyers (Bloomsbury, 2017).
PY - 2018/5/22
Y1 - 2018/5/22
N2 - Nancy Meyers’s 2015 film, The Intern, was met by an often lukewarm reception but made close to $200m worldwide. The story of a successful young fashion start-up entrepreneur Jules (Anne Hathaway), who hires a ‘senior’ (citizen) intern Ben (Robert de Niro) to become her assistant, Meyers struggled to get the film greenlit despite her films having collectively grossed well over $1billion, and despite films with intergenerational appeal being said to constitute ‘the industry’s holy grail’ (Cox, 2012). This essay examines how in the media reception of this and other of Meyers’s films, her presumed appeal to older women fans in particular is consistently positioned dismissively by critics, a discourse in which she is pigeonholed as a ‘mom-com director’ (McDermott, 2015). Such disdain is tied to the fact that Meyers is herself an older woman director, an unlikely conjunction made to augment this regularly disparaging critical environment, in which Meyers is discursively constructed through an ageist/sexist lens that has debarred her from ‘the exclusive realm of celebrity directors’ (Sims, 2014: 191). Through interrogating the cultural positioning of ‘Nancy Meyers’, her work and her older women fans together, one uncovers how these sites are interwoven junctures in a shared matrix. Thus the essay’s multi-perspectival method brings to light both the breathtaking spectrum of intertwined ways in which older and ageing women are sidelined and undermined across culture, and how the agendas of celebrity studies, audience studies and cultural gerontology might productively intersect.
© 2018, Taylor & Francis. The attached document (embargoed until 22/11/2019) is an author produced version of a paper published in Celebrity Studies, uploaded in accordance with the publisher’s self- archiving policy. The final published version (version of record) is available online at http://dx.doi.org/10.1080/19392397.2018.1465296. Some minor differences between this version and the final published version may remain. We suggest you refer to the final published version should you wish to cite from it.
AB - Nancy Meyers’s 2015 film, The Intern, was met by an often lukewarm reception but made close to $200m worldwide. The story of a successful young fashion start-up entrepreneur Jules (Anne Hathaway), who hires a ‘senior’ (citizen) intern Ben (Robert de Niro) to become her assistant, Meyers struggled to get the film greenlit despite her films having collectively grossed well over $1billion, and despite films with intergenerational appeal being said to constitute ‘the industry’s holy grail’ (Cox, 2012). This essay examines how in the media reception of this and other of Meyers’s films, her presumed appeal to older women fans in particular is consistently positioned dismissively by critics, a discourse in which she is pigeonholed as a ‘mom-com director’ (McDermott, 2015). Such disdain is tied to the fact that Meyers is herself an older woman director, an unlikely conjunction made to augment this regularly disparaging critical environment, in which Meyers is discursively constructed through an ageist/sexist lens that has debarred her from ‘the exclusive realm of celebrity directors’ (Sims, 2014: 191). Through interrogating the cultural positioning of ‘Nancy Meyers’, her work and her older women fans together, one uncovers how these sites are interwoven junctures in a shared matrix. Thus the essay’s multi-perspectival method brings to light both the breathtaking spectrum of intertwined ways in which older and ageing women are sidelined and undermined across culture, and how the agendas of celebrity studies, audience studies and cultural gerontology might productively intersect.
© 2018, Taylor & Francis. The attached document (embargoed until 22/11/2019) is an author produced version of a paper published in Celebrity Studies, uploaded in accordance with the publisher’s self- archiving policy. The final published version (version of record) is available online at http://dx.doi.org/10.1080/19392397.2018.1465296. Some minor differences between this version and the final published version may remain. We suggest you refer to the final published version should you wish to cite from it.
KW - Nancy Meyers
KW - intergenerationality
KW - older women audiences
KW - The Intern
KW - ageing celebrity
KW - women directors
U2 - 10.1080/19392397.2018.1465296
DO - 10.1080/19392397.2018.1465296
M3 - Article
SN - 1939-2397
VL - 9
SP - 166
EP - 185
JO - Celebrity Studies
JF - Celebrity Studies
IS - 2
ER -