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Abstract

Since 2003, a budding collection of English-language war comics dealing with military conflicts between India and Pakistan have become part of the comic book repertoire in both countries. This article focuses on two such comics, Siachen (2012) and Haider (2015). Drawing upon Raewyn Connell's theorization of hegemonic masculinity, the article analyzes how the masculine role models depicted in Haider and Siachen vehemently deny the horrific emotional and physical costs of warfare. By examining hegemonic masculinity in the comics through masculinity nostalgia, and through close reading of the characters’ physical appearances and their shared military camaraderie, this article establishes how the comics endorse militancy and warfare for the purpose of entertainment and education, thereby serving as military propaganda, regardless of the creators’ personal intent.

Abstract

Raewyn Connell's theorizing in The Men and the Boys shaped my analysis of young men's engagements with masculinity, and my thinking about gender inequality more generally. The claims about relationships between global inequalities and gender relations in that text shifted my focus away from types of boys—gay boys, straight boys, nerdy boys, popular boys—to a focus on gender relations among boys themselves, processes by which boys both robbed others of precious indicators of masculinity and attempted to claim said indicators for themselves. This shift highlights the centrality of interaction, practice, and institutions to gender inequality among American teenagers. The essay concludes by discussing how Connell's focus on global inequalities provided a foundation from which to argue that many of the same gendered dynamics we see among American teenagers—what I came to call masculinity contests—are also deeply woven into political discourses and practices.

Abstract

This article embarks from George Lakoff and Mark Johnson's embodied understanding of metaphor in linguistic contexts and proceeds beyond merely an extended notion of “visual” metaphor toward an operational understanding of the term “allegory” in the cinematic context. Specifically, a pattern of Sisyphean landscape allegory in a global array of postwar narrative cinema is identified and explored, in which a psychologically conflicted protagonist struggles against a resistant natural landscape, connoting varying degrees of existential “futility.” The recurrent experiential configuration of this modernist allegory on screen, especially in terms of its haptic dimensions, is explored for its ability to “invoke” social critique—as felt, visceral content.

Abstract

While fandom is a dominant girlhood trope, few accounts examine faith in the context of girls’ fandom. Addressing this gap, using a feminist poststructural analysis, I draw on interviews and participant observation to locate fan communities as a space in which Muslim girls can enact citizenship. Combining youth cultural studies, girlhood studies, and fan studies, I explore how Muslim fangirls of the Norwegian teen web-drama Skam (2015–2017) draw on their desire for recognition and their creativity as cultural producers to engage in participatory storytelling that challenges popular representations of Muslim girls. This process enables the production of communities rooted in shared interests, experiences, and identities. I suggest that fandom should be recognized for its capacity to generate new meanings of citizenship for minority youth.

Abstract

I have carried Connell's work with me as I have embarked on a career within human geography with specialist interest in gender and generation. Although my empirical lens has shifted and expanded in different ways and at different times, those same theoretical underpinnings have remained in place. I found myself returning to Connell's work on The Men and The Boys in my most recent academic work, namely through a “young dads and lads” project. Particularly noteworthy are the ways in which these young men move (and are moved by others) in between “boyhood,” “manhood,” and back again. Connell's work helps me understand how processes of childhood socialization gendered these boys, and how as young men they are gendered still through processes of fatherhood. I am left questioning what is left behind when boys become men. I also am left needing to thank Raewyn for my lectureship—perhaps these reflections will go some way toward doing so.

Ashwini Tambe. 2019. Defining Girlhood in India: A Transnational History of Sexuality Maturity Laws. Urbana: University of Illinois Press.

Heather D. Switzer. 2018. When the Light Is Fire: Maasai Schoolgirls in Contemporary Kenya. Urbana, IL: University of Illinois Press.

Abstract

The nineteenth-century science of “optography” was based on the idea that an image of the last thing seen at the moment of death would be imprinted on the retina. This idea was inspired by the invention of photography, which reinforced the mechanistic notion of the eye as a camera, and it was frequently criticized in nineteenth-century literary texts, in which eyes more often record images generated from within the mind. Belief in optography began to wane at roughly the same time that cinema became a popular form of entertainment, but it continued to appear in several films in which severed eyes function as cameras or optical implants are used to record visual impressions that can be viewed after the death of the subject. This article examines how these optographic narratives continued to reinforce the mechanistic notion of visual perception on which film technology was thought to depend.

Erin Y. Huang. Urban Horror: Neoliberal Post-Socialism and the Limits of Visibility (Durham, NC: Duke University Press, 2020). 288 pp. ISBN: 978-1-4780-0809-5 / 978-1-4780-0679-4; (paperback, $26.95; hardback, $99.05)

Where are the girls who made history? What evidence have they left behind? Are there places and spaces that bear witness to their memory?

Girl Museum was founded in 2009 to address these questions, among many others. Established by art historian Ashley E. Remer, whose work revealed that most, if not all, museums never explicitly discuss or center girls and girlhood, Girl Museum was envisioned as a virtual space dedicated to researching, analyzing, and interpreting girl culture across time and space. Over its first ten years, we produced a wide range of art in historical and cultural exhibitions that explored conceptions of girlhood and the direct experiences of girls in the past and present. Led by an Advisory Board of scholars and entirely reliant on volunteers and donations, we grew from a small website into a complex virtual museum of exhibitions, projects, and programs that welcomes an average 50,000 visitors per year from around the world.