Much of the work of political science revolves around institutions—the structures through which politics happens. Leaders enter the frame, of course, but often as institutions in human form: presidents, premiers, populists, and mobilizers who serve to channel and direct who does what and what they do, much like an agency or law. We might trace this pseudo-structural, largely mechanical reading of human agency to political scientists of an earlier era: the behavioralists of the 1950s and 1960s. James C. Scott began his career as just such a scholar. For his dissertation-turned-book, Political Ideology in Malaysia: Reality and the Beliefs of an Elite, Scott surveyed a gaggle of Malaysian bureaucrats to examine, effectively, the extent to which their values and assumptions supported or subverted the new democracy they served. Although itself fairly prosaic, that work foreshadows the political grime and games that soon pulled Scott in more promising directions theoretically, whether scrutinizing Southeast Asia or global patterns: disentangling structure from norms, finding agency around the margins of class and state, and rethinking how power looks and functions.

This article discusses postfeminist practices of resistance within contemporary visuality. Drawing on concepts used in visual and cultural studies, it describes and interprets the gender performance through which Giulia, a velina, challenges her own sexual and economic domination in her everyday affective labour and work. For this purpose, I report Giulia’s account of herself, resulting from a series of interviews conducted in 2014 and 2015. In the first part of the article, I will describe Giulia’s gendered etiquette, i.e. a complex of corporeal and behavioural prescriptions. Next, I will describe a set of acts of resistance performed by Giulia in her everyday social interactions in order to protect herself, to speak out and to build alliances against the violence implied by the stigma attached to the velina’s gender/class norm. Finally, I will apply the concept of visual infrapolitics to the open field of visual practices through which a female worker of the entertainment industry criticises the gender-based violence implied by her labour form and by the stigma attached to her gender etiquette. I argue that such a wide field of practices pertains to a postfeminist sensibility and materialises the possibility for collective acts of resistance.