Titlebook: International Cinema and the Girl; Local Issues, Transn Fiona Handyside,Kate Taylor-Jones Book 2016 The Editor(s) (if applicable) and The A

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Feminine Adolescence and Transgressive Materiality in the Films of Lucrecia Martel aesthetic project. It explores the local proliferation of girl-images which followed in the wake of Martel’s influential début . (2001), and indicates some of their global resonances. Whilst Martel has come to be seen as a crucial player in the experimental-ism and aesthetic break with previous Arg

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CHASE

Desire, Outcast: Locating Queer Adolescences her gaze back in our direction. Her image resides in a movie poster next to a definition of the film’s titular subject: “PARIAH [puh-rahy-uh] . 1. A person without status. 2. A rejected member of society. 3. An out-cast.”. . (Dee Rees, 2011) is a film of escape (about looking out) but also of self

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Resign

narcissism

The Pleasures of Music Video Aesthetics in Girl Teen Filmnces created as “appropriately” fun for girls are generally part of a normative model that stresses femininity as a bodily characteristic and visibility as the girl figures’ only access to power and pleasure.. In the romantic comedy/girl teen film . (Winick, 2004, USA), Jenna (Jennifer Garner) takes

BRAWL

Where’s Girlhood? The Female Child Killer in , (Tony Hickson, 2005)trangled to death two younger boys, Martin Brown (aged four) and Brian Howe (aged three). Unlike other near-contemporary murder cases that had shocked the nation, such as the child-killings dubbed “the Moors Murders” in Manchester three years earlier, Bell’s crimes would not go on to inspire very mu

cornucopia

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