Abstract
Despite being framed as an egalitarian feminist or postfeminist exploration of the power dynamics of sexual harassment, Michael Crichton's novel and film Disclosure functions ideologically as antifeminist backlash characteristic of mainstream popular culture of the late 1980s and 1990s. The authors' reading of the text is informed by Sandra L. Bem's sex role research on how dominant culture normatively defines sex role expectations, Bonnie J. Dow's analysis of cultural hegemony and feminism, Kathleen Hall Jamieson's work on double-binds that perpetuate sexual discrimination, and Wayne Booth's writings on the use of the impersonal narrator.
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