Rosalind Gill

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Rosalind Gill Biography

Rosalind Clair Gill (born 22 April 1963), is a British sociologist and feminist cultural theorist. She is currently Professor of Social and Cultural Analysis at City, University of London. Gill is author or editor of ten books, and numerous articles and chapters, and her work has been translated into Chinese, German, Portuguese, Spanish and Turkish.

She received her doctorate, which was concerned with new racism and new sexism in British pop radio, in social psychology from the Discourse and Rhetoric Group (DARG), Loughborough University in 1991. In an interview, she has identified Michael Billig (her PhD supervisor) and Stuart Hall as major influences and, together with Christina Scharff, she dedicated the book New Femininities: Postfeminism, Neoliberalism and Subjectivity to Angela McRobbie. Gill’s work is interdisciplinary, and she has worked in departments of Psychology, Sociology, Media and Communications, and Gender Studies. Based mainly in London, she has held posts at Goldsmiths College, King’s College and the LSE, where she was the first tenured member of staff in the Gender Institute (1997-2007). She took up her position at City, University of London, in 2013.

In a highly cited article in European Journal of Cultural Studies (ECJS) in 2007, Gill argued that post feminism should be thought of as a contemporary “sensibility”, shaped by neoliberalism and “by stark and continuing inequalities” related to gender race and class. Elements of this sensibility include:

In 2012, Rosalind Gill worked with Jessica Ringrose, Sonia Livingstone and Laura Harvey on and NSPCC-funded research project about “sexting”, focused on listening to young people’s experiences of mobile communications and image sharing. The research was published as a report, several articles, and was also used as the basis of a play titled Sket, written by Maya Sondhi, which premiered at London’s Park Theatre in 2016, directed by Prav MJ.

Gill has also worked with a range of governmental, non-governmental and activist bodies. She serves on several editorial boards including Feminist Media Studies; Theory, Culture & Society; Communication, Culture and Critique; Feminism & Psychology; Psychology and Sexuality; Australian Feminist Studies; and International Journal of Media and Cultural Politics. Besides the contribution of her own research, Gill’s influence has also been felt through her teaching and extensive PhD supervision. Many former PhD students have gone on to have successful academic careers, including Dr Feyza Akinerdem, Dr Sara de Benedictis, Dr Simidele Dosekun, Dr Laura Favaro, Dr Roisin Ryan Flood, Dr Laura Harvey, Dr Tracey Jensen, Professor Elisabeth Kelan, Dr Jongmi Kim, Dr Rachel O’Neill, Dr Christina Scharff, and Dr Karen Throsby.

Academic work is a further interest, exemplified by Gill’s much circulated essay “The Hidden Injuries of the Neoliberal University”, and several subsequent articles. Gill’s contribution has been to move beyond programmatic accounts of the “corporate university” or “new public management” and to explore the lived experience of working cultures marked by increasing precariousness, time pressure, and audit.

The experience of work in neoliberal societies represents another key focus for Gill. She has conducted extensive empirical research in “creative” occupations including broadcasting, advertising and web design. Her work has made important contributions to theorising both precariousness and inequality in these settings. Her co-edited collections Theorising Cultural Work (with Mark Banks and Stephanie Taylor) and Gender and Creative Labour (with Bridget Conor and Stephanie Taylor) pull together these arguments. Gill is also co-editor, with Ursula Huws, of Palgrave’s Dynamics of Virtual Work series, which came out of an EU COST grant of the same name. In 2008 Gill co-edited a special issue of Theory, Culture & Society about work in the cultural and creative industries, and was author of an influential article about immaterial labour and precarity.

The representation of sex and sexuality remain key interests and Gill’s 2018 monograph, Mediated Intimacy, co-written with Meg-John Barker and Laura Harvey, argues that media are our biggest source of information about sex and relationships, and charts the representation of what is depicted as “normal”, and constructions of consent, desire, pleasure and work.

Gill has been a major contributor to debates about the alleged “sexualisation of culture”, with a perspective she describes as “sex positive but anti-sexism”. She was one of the organisers of a significant ESRC seminar series titled Pornified? Complicating the debates about the sexualisation of culture. This brought together artists, academics, policymakers and activists on different sides of the “sexualisation wars” divide. Gill consistently argued for the need to dialogue across differences and to think critically about the cultural processes gathered under the heading “sexualisation” with greater attention to specificities of power and identity. In an article in Sexualities she called for intersectional complications, arguing there is no “one size fits all” kind of sexualisation that does not vary by gender, sexuality, race, class, age etc. Gill’s research has included a large-scale qualitative study of men’s experiences of a visual culture increasingly dominated by idealised representations of the male body. She has also looked critically at the commercial “Love Your Body” trend and the packaging of “sexy” images through tropes of empowerment.

Gill’s work has also made a contribution to debates about how discrimination changes. In her Ph.D. research on British broadcasting, she built on analyses of new racism, and documented new forms of sexism. The term was coined to speak to the way that patterns of discrimination were taking new forms in a cultural context marked by more egalitarian values. In later work she looked at other media environments that explicitly marked themselves as ‘cool, creative and egalitarian’ showing the novel forms that sexism took in such sites. In a 2014 article in Social Politics she developed the notion that in seemingly egalitarian workplaces inequality becomes “unspeakable” and perhaps even unintelligible. This work challenges debates centred on maternity as the primary reason for women’s underrepresentation in cultural and creative fields, and pointed to the need to explore the flexibility and dynamism of sexism as a set of practices.

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