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   1. <dc:title lang="en-US">(500) Days of Postfeminism: A Multidisciplinary Analysis of the Manic Pixie Dream Girl Stereotype in its Contexts</dc:title>

   2. <dc:creator>Vázquez Rodríguez, Lucía Gloria</dc:creator>

   3. <dc:subject lang="en-US">Postfeminismo</dc:subject>

   4. <dc:subject lang="en-US">Manic Pixie Dream Girl</dc:subject>

   5. <dc:subject lang="en-US">(500) Dias Juntos</dc:subject>

   6. <dc:subject lang="en-US">Zooey Deschanel</dc:subject>

   7. <dc:subject lang="en-US">cine indie</dc:subject>

   8. <dc:subject lang="en-US">feminidad</dc:subject>

   9. <dc:description lang="en-US">In 2007, after watching Elizabethtown (2005), film critic Nathan Rabin coined the term Manic Pixie Dream Girl in order to describe a nascent filmic female trope as “that bubbly, shallow cinematic creature that exists solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures” (2007). Since then, the concept acquired enormous widespread cultural currency, and the type of female characters responding to the stereotype multiplied, although not a single thorough scrutiny of its gender values has been undertaken from the Academia, perhaps due to the fact that independent (“indie”) productions – where most of these characters are found – provide their films with a certain patina of ideological credibility. However, with her performance of traditional cute (Ngai, 2012), girlish femininity, her vulnerability, her neoliberal sexual freedom, and, above all, her being-for-the-Other, the Manic Pixie Dream Girl perhaps constitutes the most powerful embodiment of postfeminist ideologies within independent cinema.  In addition, her carpe diem philosophy and her “hipster” aesthetics speak directly to the idiosyncrasy of our time, characterized, as Slavoj Zizek (1994) explains, by a social injunction to “Enjoy!.”</dc:description>

   10. <dc:publisher lang="es-ES">Fundación iS+D para la Investigación Social Avanzada</dc:publisher>

   11. <dc:date>2017-09-29</dc:date>

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   17. <dc:identifier>https://revistaprismasocial.es/article/view/1599</dc:identifier>

   18. <dc:source lang="en-US">Revista Prisma Social; 2017: Nº Especial 2 | Investigación en Comunicación Audiovisual y Estudios de Género; 167-201</dc:source>

   19. <dc:source lang="es-ES">Revista Prisma Social; 2017: Nº Especial 2 | Investigación en Comunicación Audiovisual y Estudios de Género; 167-201</dc:source>

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   10. <copyright>Los derechos de edición pertenecen a la Fundación iS+D para la Investigación Social Avanzada, entidad que edita la Revista Prisma Social, y es necesario su permiso para cualquier reproducción. En todo caso, será necesario citar la procedencia de cualquier reproducción total o parcial.&nbsp; La publicación de artículos o reseñas en la Revista Prisma Social no da derecho a remuneración alguna. &nbsp; Política de acceso abierto La publicación de la Revista Prisma Social y su difusión se realiza de forma abierta a través de Internet. La Revista Prisma Social ofrece acceso libre y abierto inmediato a su contenido de forma totalmente gratuita con el fin de hacer llegar la investigación científica a toda la sociedad y con el objetivo de crear una cultura reflexiva encaminada a la comprensión de los comportamientos sociales desde una perspectiva global. Todos los contenidos digitales de la Revista Prisma Social son de acceso libre y gratuito y se publican bajo una licencia de Creative Commons: &nbsp;La Revista Prisma Social, editada por la Fundación iS+D para la Investigación Social Avanzada, está bajo una licencia de Creative Commons Reconocimiento-NoComercial-SinObraDerivada 3.0 España License. Creado a partir de la obra en www.isdfundacion.org &nbsp; Bajo esta licencia, está permitida la reproducción y difusión de los contenidos de la revista con fines educativos o de investigación, sin ánimo de lucro, siempre y cuando estos no se modifiquen, se cite la procedencia (Prisma Social, Revista de ciencias sociales), y la autoría. &nbsp; Esta licencia a la que se acoge la Revista Prisma Social permite copiar, distribuir, exhibir los textos e imágenes de la revista, siempre que se cumplan las siguientes condiciones:&nbsp; - Reconocimiento: Debe reconocerse y respetarse la autoría de la obra de la manera especificada por el autor y la entidad editora (Revista Prisma Social – Fundación iS+D). - No comercial: No se puede utilizar esta obra para fines comerciales.&nbsp; - No derivados: No se puede alterar, transformar o generar una obra derivada a partir de esta obra. &nbsp; Se deberán establecer claramente los términos de esta licencia para cualquier uso o distribución de los documentos. Se podrá prescindir de cualquiera de estas condiciones si se obtiene el permiso expreso del autor/a. &nbsp; Desde la Revista de Prisma Social se permite y se invita a los/as autores/as a ampliar la visibilidad, alcance e impacto de sus artículos publicados en la revista mediante la redifusión (auto-archivo) de los mismos en: 1. Sus espacios web personales (web, blog, redes sociales, foros científicos, etc.). 2. Archivos abiertos institucionales (archivos universitarios, Hispana, Europeana, etc.). 3. Redes sociales de naturaleza académica y científica (ResearchGate, Academia.edu, Getcited.org). Se requiere que en dichas publicaciones se detallen todos los datos bibliográficos de la publicación. &nbsp; Para más información, puede descargar y consultar las Condiciones de Publicación:</copyright>

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   14. <abstract>In 2007, after watching Elizabethtown (2005), film critic Nathan Rabin coined the term Manic Pixie Dream Girl in order to describe a nascent filmic female trope as “that bubbly, shallow cinematic creature that exists solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures” (2007). Since then, the concept acquired enormous widespread cultural currency, and the type of female characters responding to the stereotype multiplied, although not a single thorough scrutiny of its gender values has been undertaken from the Academia, perhaps due to the fact that independent (“indie”) productions – where most of these characters are found – provide their films with a certain patina of ideological credibility. However, with her performance of traditional cute (Ngai, 2012), girlish femininity, her vulnerability, her neoliberal sexual freedom, and, above all, her being-for-the-Other, the Manic Pixie Dream Girl perhaps constitutes the most powerful embodiment of postfeminist ideologies within independent cinema.  In addition, her carpe diem philosophy and her “hipster” aesthetics speak directly to the idiosyncrasy of our time, characterized, as Slavoj Zizek (1994) explains, by a social injunction to “Enjoy!.”</abstract>

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