Larson, Katy Elizabeth2020-09-292020-09-292019https://hdl.handle.net/1794/2577389 pagesThis thesis concerns postfeminism in two female-led action films: Atomic Blonde (2017) and Wonder Woman (2017). Postfeminism compels feminine-identifying individuals to perform in a manner that indicates the achievement or progress of feminism but does not acknowledge or work to eradicate the existence of systemic structures such as misogyny. I discuss the film’s postfeminist tendencies in separate case studies and why it is important to identify postfeminism within these films. In Atomic Blonde, I discuss how protagonist Lorraine Broughton epitomizes postfeminism through her work ethic, appearance and skills; the film’s normalization of misogyny; how the film’s female, queer plotline is postfeminist; and lastly, the ways in which the film is reminiscent of the James Bond films. In the Wonder Woman case study, I highlight the ways in which media coverage reveal postfeminist tendencies, and how the film can be considered postfeminist through Diana’s responsibilities, work ethic, appearance and skills. I conclude that both films have postfeminist implications that support or obscure underlying misogyny while encouraging feminine-identifying individuals to adopt specific values within the postfeminist sphere.en-USMedia StudiesPostfeminismFilmMisogynyNeoliberalismWonder WomanAtomic BlondFeminismThesis/Dissertation