Food and eating are everywhere: in the blogosphere, in bookstores, on TV and streaming platforms, in social media such as Instagram. Nearly all newspapers, large and small, have cooking sections or extra food editions, and the portion of food-related print magazines has expanded hugely over the last years. The “foodie” has even become a characteristic social figure of our time, much like the “flaneur” of the emerging urban metropoles of modern society at the turn of the 19th century, or the “nerd” as the prototype of the emerging digital revolution during the 2000s. What does the “foodie,” then, stand for? Is it a coincidence that we seem to be somewhat obsessed with food, eating, and cooking? I don’t think so.…

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Weight Watchers first launched an online program “customized just for guys” in 2007, one of their advertisements proclaimed, “Real men don’t diet.” This counterintuitive declaration evoked the questions that animate my current research. I’m analyzing how the consumer culture constructs notions of “real men” through depictions of food and the body, particularly during moments of intense social change and anxiety. As you might have guessed, commercial weight loss programs, developed for men in the early decades of the new millennium, provide ample evidence. Men have made up a small but consistent 10 percent of the Weight Watchers membership since the company’s founding in 1963. Throughout the decades, program materials, cookbooks, and magazines have each addressed men. For example, the 1973…

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Fat bodies are not en vogue. In current advertisements, films, books, magazines, etc. we hardly find fat children’s bodies at all or depicted in a positive way. In her recentbook Fa(t)shonista, the German fat activist and feminist Magda Albrecht describes her childhood and her weight as a permanent occasion to comment on. The ideology of childhood seems to be one of lightness, friendship, joy, and normative bodies. Fat children or even fat heroines remain almost invisible, they are ”missing bodies” in a discourse in which certain bodies are of higher value than others, as Monica J. Casper and Lisa Jean Moore pointed out. Moreover, when fat children are depicted, they are often shown without heads or from the back. Psychotherapist…

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The heated debate on the European “Nutella divide” that hit the news in 2017 only corroborated long-established East European beliefs: After the fall of the Socialist regimes, people did not get the much longed-for western quality products. Instead, substandard goods were shipped eastwards: Adidas trainers that would not sell, Swiss knives with dull blades, expired foods with new sell-by dates. Finally there was official proof that in the East, Nutella was less creamy (smooth), Coca Cola tasted flatter and fish fingers held less fish. The offended Visegrad states complained that they were abused as European dumping ground. The manufacturers first attributed this to adjusting recipes to regional taste preferences, and also – after some probing – to lower spending power.…

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“I know you’re sick. It’s all that whiteman junk food we eat,” the elderly Aboriginal protagonist Charlie remarks towards his terminally ill friend. The Australian drama Charlie’s Country (directed by Rolf de Heer), which had its world premiere at the Adelaide Film Festival in October 2013, presents a fictional engagement with community life in the Northern Territory after the implementation of the Intervention. De Heer’s film emphatically addresses Indigenous people’s disadvantages—especially in relation to food and health issues. Since healthier options are inaccessible, Charlie and his community rely on the unhealthy food they can buy from the general store of their community and are consequently made ill by their diet. Charlie would prefer to hunt rather than consume the “whiteman…

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