We begin by paying tribute to feminist Black scholar, bell hooks, who died 15 December 2021. As the numerous citations in just this issue alone bear witness, she has had a huge influence on feminist ways of thinking particularly in relation to how race, gender, and capitalism intersect. In her well-known essay, “In Our Glory” on Black girlhood and visual culture (hooks 1994), she offers a memory of losing a photograph of herself as a young girl in the 1950s masquerading, as she called it, in full cowgirl regalia.
The “me of me” in Black Girlhoods
Claudia Mitchell and Ann Smith
Andrew J. Ball
The final issue of Screen Bodies Volume 6 offers readers an ideal combination of the diverse kinds of work we feature, from a macroscopic theory that proposes a new discipline, to a set of articles that rigorously examine a small number of artworks with respect to a shared topic, to a piece of curatorial criticism on a recent media arts exhibition. The articles collected here offer a fitting cross section of the topics and media we cover, discussing such varied subjects as prehistoric art, Pink Film, artificial intelligence, and video art.
The Female Reception of Oshima Nagisa's International Co-Productions
Oshima Nagisa's international co-productions, which include the pornographic film In the Realm of the Senses and the war drama with homoerotic themes Merry Christmas, Mr. Lawrence, were noted as the emergence of his female audience. How did this reported demographic change of the audience from male-centered to female-oriented relate to sexualized bodies on screen? In their roundtable discussion about sexual liberation, feminists found emancipatory power from patriarchal society in the face of the actor who played Abe Sada. Girls praised queerness that disrupted heteronormativity in David Bowie's performance in their film reviews. Focusing on the reception of the films within feminists’ discourse and girls’ culture, this article argues that the female audience created political significance of the films by interpreting the bodies as embodied liberation.
Shara Crookston and Monica Klonowski
In this article, we argue that Teen Vogue has evolved to encompass aspects of intersectional, feminist activism that is particularly evident in the 2017 “Voices” section of the magazine. This evolution challenges previous research that has found that, historically, teen magazines focus heavily on heteronormativity, ideals of beauty, and consumerism. Our analysis of the content of this section of Teen Vogue in 2017 demonstrates that teen magazines can be reimagined as legitimate sources of intersectional activist feminist information for readers. Despite these positive changes, however, Teen Vogue continues to advertise clothing brands that many adolescent girl readers are likely unable to afford, thereby reinforcing superficial postfeminist notions of empowerment.
Sometimes the evolution of an open call issue of Girlhood Studies results in something of a girls studies reader unto itself. Since this issue is packed full of criss-crossing themes based on work in several countries—Canada, Iceland, India and the US—there is just no room for editorial commentary. In its inclusion of works on intersectional feminisms and feminist and Indigenous-led critique to school-based and intergenerational interventions and the power of the visual, this issue is something of such a reader.
Andrew J. Ball and Aleksandr Rybin
The cover of this issue of Screen Bodies features the digital work “Crypto Queen” by restlessperson (Aleksandr Rybin), which the artist has minted as an NFT. We spoke with Rybin about the subject matter of his work, connections between digital and analog art, and the future of NFTs. His work is available on KnownOrigin.
Looking Outward from/with IGSA@ND
Angeletta KM Gourdine, Mary Celeste Kearney, and Shauna Pomerantz
We are proud to introduce this special issue that was inspired by the 2019 International Girlhood Studies Association (IGSA) conference at the University of Notre Dame (IGSA@ND). At that time, we were not yet acquainted with each other beyond exchanging pleasantries and knowing of each other's academic profiles. Yet we came together as three co-editors and scholars committed not only to the diversification of girlhood studies but also to the larger project of social justice for all. We want to promote such work through this special issue and, in the process, expand perspectives and practices within the field of girlhood studies, as many before us have done.
The Affective Modalities of Media and Technology
Andrew J. Ball
The six essays in this in this issue of Screen Bodies explore what we might call the affective modalities of media, that is, each author examines the potential of emerging and traditional media to transform individual and collective relations through the strategic use of embodied affective experience. Three essays in the issue focus on new and emerging technology. In, “The iAnimal Film Series: Activating Empathy Through Virtual Reality,” Holly Cecil examines the potential power of virtual reality to generate empathy in users. In particular, she looks at the way animal advocacy organizations combine documentary film and virtual reality to communicate the embodied experience of living and dying in a factory farm to provoke feeling and widespread opposition to the industry.
Tiffany Rhoades Isselhardt
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.
This Special Issue of Girlhood Studies: An Interdisciplinary Journal represents another milestone in the history of the journal, coming, as it does, out of the second international conference of the International Girls’ Studies Association (IGSA) that was hosted by Notre Dame University, South Bend, Indiana, in 2019. As the guest editors, Angeletta Gourdine, Mary Celeste Kearney, and Shauna Pomerantz highlight in their introduction, the conference itself and the Special Issue set in motion the type of dialogue and conversation that is crucial to challenging and changing the world of inequities and disparities experienced by girls. For a relatively new area of study that has roots in feminism and social change, critical dialogue about inclusion and exclusion and about ongoing reflexivity and questioning must surely be at the heart of girls studies. The guest editors capture this admirably when they replace the question “What is girlhood studies?” with the provocative and generative question, “What can girlhood studies be?” The articles and book reviews in this Special Issue tackle what girls studies could be in so many different ways, ranging from broadening and deepening notions of intersectionality and interdisciplinarity to ensuring a place for the article, “Where are all the Girls and Indigenous People at IGSA@ND?” co-authored by the girls who belong to the Young Indigenous Women's Utopia group. Such an account offers a meta-analysis of the field of girlhood studies, but so did the call for the Special Issue as a whole. It is commendable that this team of co-editors assembled and curated a series of articles that reveal the very essence of the problematic that girlhood studies seeks to address.