What youngish female readers are identifying with or finding pleasure in Twilight is as equally a complex question. Some might be drawn to the romance and a savior figure in Edward; others may be drawn to the father/daughter relationship; and still others may be drawn to the experience of community that Twilight fandom offers, (or perhaps all of these at once), to name only a few possible readings.

I think there are certainly some Twihards that, no matter their age or other forms of self-identification, can and do find meanings in the text other than romance and domesticity. And as for what that means, to me it means that young female fans are active, legitimate makers of cultural meaning, a notion that underscores all of our points here that we should not (cannot?) dismiss Twilight, Twihards, or any other young screaming female fan or the questions they raise, no matter how complex.

On a related note, I have to say that I’m looking forward to taking four 12 year-old girls to a screening of New Moon tonight (they’re girls I babysit for). I plan to write about the experience in another Antenna post next week. 🙂

There’s no doubt that the texts–both written and cinematic–are “important and legitimate,” as you and Anne so nicely point out. Indeed, such a phenomenon SHOULD turn the heads of critics, media scholars, etc.

I guess I’m just wondering if the responses to the underlying questions above (i.e., Why is all of this so attractive and luring? What meanings and/or pleasures are readers/viewers taking from it?) are considerably more complex than the one answer Liz presents.

In other words, aren’t the books/films attractive and luring primarily because they offer females images of what they are supposed to want (e.g., romance, marriage, a savior, etc.)? Similarly, aren’t the meanings that the target audience likely gleans from the books/films founded on notions of what they are supposed to want (e.g., true romance, destiny, The One)? As well, aren’t box-office lines currently flooded because the reader/viewer is being offered what she has been conditioned to want (e.g., a handsome, caring, protective male character/actor; identification with a lead female who will do anything for love, the ultimate relationship, etc.)? Finally, aren’t even the fans who are screening the film to see a potential offscreen relationship unfold onscreen (see Anne’s blog for more on the Stewart/Pattinson relationship) going for similar purposes (e.g., to see sparks fly, experience “true” love, etc.).

In brief, do you think the target audience, youngish female readers–not feminists, cultural studies scholars, etc.–would provide other answers to the above? If so, what might they say; and would it revolve around something other than romance and/or domesticity? If not, what does THAT mean? =)

Kelli, I concur that certain narrative elements and representations in the Twilight Saga are absolutely troubling. For instance, aspects of Bella and Edward’s relationship certainly allow for readings of control issues and stalker-esque behavior. As a feminist and a scholar, it’s important to me that we take up the project of interrogating the text, its representations, and how audiences make meaning of it.

But Annie raises a crucial point that rejecting/dismissing Twilight or devaluing pleasures one might derive from it, can ultimately be destructive. It’s a fine line to walk, though, between problematizing aspects of a text and still recognizing the importance and legitimacy of those who enjoy it. This brings me back what Liz said, that we find ourselves in the throes of “…classic patriarchal culture – offering women images of what they ‘should’ want (romance, etc.) and then belittling them when they do want it. After all, if women’s interests were taken seriously, it could be a threat.” Well put.

In other words, fanboys are “obsessed” or “nerds,” but ‘Twi-hards,’ as they’re often called, are “crazy.” As if the transferal of passion from robots and lightsabers to vampires and romance somehow makes ridicule okay, sanctioned, even necessary.

For me, it comes down to a question of ridiculing others’ forms of pleasure. I have friends who glue their eyes to fantasy sports computer screens (and television screens) while engaging in self-destructive behaviors. They cry, they pay hundreds, even thousands of dollars to see their heroes and idols perform up close. They buy merchandise with those idols’ (and their ‘performance names’) nicknames embossed. They anticipate the day of their passion’s arrival (for a sequel, if you will) with childlike abandon. They skip work, neglect household chores.

And yet those invested in a romance, as opposed to a game with a ball, are crazy.

Don’t get me wrong: I’m not intending to make fun of football fans. I, for one, like football. But even if I didn’t, I would respect that others take pleasure in what I might deem a time and emotion suck, and that’s enough to justify the time and emotion they expend.

As for the feminist angle, my own pleasure in the series prompted me to perform a semester’s worth of research and contemplation and ethnography. Crucially, feminists taking pleasure in non-feminist objects and texts is nothing novel. But for arch feminists to dismiss Twilight — including the pleasures it provides burgeoning and established feminists — will only serve to alienate and divide the already fractured feminist community. (Bitch Magazine did just this in a vitriolic article last year). Tania Modleski reminded us of this fact as concerns the soap opera way back in 1980, and we appear to have developed a case of scholastic amnesia.

Indeed, the shame articulated by 20-something and middle-aged fans has everything to do with cultural expectations, including the stigma of “reading down” or “cross-generationally.” In other words, as a 28 year old feminist, I “shouldn’t” be reading in the YA section — if I do own the books, I should always introduce my fandom with a caveat. Do we require caveats for other passions? Even academic ones? “I know it’s sometimes degraded within the academy, but I REALLY LOVE CULTURAL STUDIES!”

What’s more important is to think through the ways in which this text is important at this particular moment. I, for one, am attending a screening tomorrow night with a gaggle of Twilight-loving Ph.D. student feminists. I’m not wearing a Team Edward shirt or painting fake blood on my neck, but I’m also not ashamed.

And you’re right: mobs of girls who act in this manner are “constructed as psychotic, mysterious others,” and it is troubling. What’s even more troubling though is whom/what they are currently so crazy about. I have not seen the film, nor have I read the books (so perhaps I should just shut up?!); but from what I can tell, both seem to be reinforcing the conventional image of a female who constantly needs a male to protect her. As well, doesn’t the Bella character attempt to KILL HERSELF just to get close to the vampire character (I’m going by the trailer here)? If so, this seems a far cry from those girls who were infatuated with the Beatles, doesn’t it?

Barista 1: I have to take a nap after work. I’m going to a…um…midnight movie.
Barista 2: Wait. Of New Moon!?
B1: Yeah, yeah. I know! I’m so ashamed to even say that.
B2: Ohmigod. I can’t even believe that. Why!?
B1: Well, I’m going dressed up as a character from True Blood just to annoy all the die-hard Twilight fans. Ha!

!?!?!?!?

I think this conversation sums up exactly Lindsay’s points above. Post-teen (hee) fans of Twilight feel the need to distance themselves from the “screaming teenage girls” image of Twi-hards.

The fact that she’s trying to get in a dig at that culture by participating in fan activity for another vampire fandom is just too dense to unpack in a comment on a blog post. Seriously.

I hate to drop the “p” word, but it just sounds like classic patriarchal culture – offering women images of what they “should” want (romance, etc.) and then belittling them when they do want it. After all, if women’s interests were taken seriously, it could be a threat.