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Annamari Vänskä

Debates about little girls' loss of innocence, and the sexualization of girls have become an integral part of media in contemporary culture. Fashion advertising representing young girls and certain types of clothes are specifically prone to generate debates about sexualization. This article looks at the sexualization argument through two sets of fashion editorials, one in a December–January 2011 issue of French Vogue, and another in the December–January 1978 issue of the same magazine. The article exposes the problem of sexualization discourse that relates images to lived experiences of girls even though fashion advertising rarely, if ever, is interested in depicting reality. Sexualization is revealed to be a value statement—the Other of innocence which is set up as the norm. Furthermore, fashion photography is shown to be intertextual; images refer to other fashion photographs. In looking at these issues this article opens up space for discussing the visual and sartorial history of the sexual girl.

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More Than Just a Simple Refrain?

The Figure of the Girl in International Cinema

Elspeth Mitchell

political issues of queerness and the problem of representation as well, particularly in relation to the intersection of gender, sexuality, and adolescence. In their respective chapters, Mary Harrod and Fiona Handyside both address French cinema's ability to

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Marie Puysségur

Introduction British filmmaker Andrea Arnold and her French counterpart, Céline Sciamma, often come together in their work. Like Arnold's American Honey ( 2016 ) and Sciamma's La Naissance des Pieuvres (Water lilies) ( 2007 ) before them, Bande

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Hope Chest

Demythologizing Girlhood in Kate Bernheimer’s Trilogy

Catriona McAra

in Miranda July’s film Me and You and Everyone We Know (2005) , when Sylvie, crucially on the verge of adolescence, explains that her “hope chest or trousseau in French” represents her “dowry” to her future husband and daughter, of whose social and

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Growing Up Married

In Conversation with Eylem Atakav

Zahra Khosroshahi

conversations are centred around women, and their bodies. We looked at a film called They Call me Muslim (2006) , about a woman in Iran refusing to wear the headscarf and rejecting it, and … two women in France who want to wear the scarf as a practice of their

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Kaoru Miyazawa

France, 1978–1979 . Trans. Graham Burchell . New York : Palgrave Macmillan . Davies , Bronwyn , and Peter Bansel . 2007 . “ Neoliberalism and Education .” International Journal of Qualitative Studies in Education 20 , no. 3 : 247 – 259 . 10

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Sami Schalk

depicted in Belize with her archeologist parents, where she is exposed to the class and educational differences between herself and a local girl, while Grace is shown on a family trip to France. 5 See the real stories and letters sections of Creel (2007a

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Heather Fitzsimmons Frey

Unhappy Princess .” Samuel French. The British Museum . Massey , Doreen . 2005 . For Space . New York : SAGE Publications . Mitchell , Claudia A. and Jacqueline Reid-Walsh . 2008 . “ How to Study Girl Culture. ” Pp. 17 – 24 in Girl Culture

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Stephanie Russo

“wannabe femme fatale who jets in from France and bribes you with theoretical sex” ( Capin 2019: 91 ). When she first meets Anna, she again lapses into predetermined scripts, describing her as a sexy villainess straight out of a James Bond film: “Anna was

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“Farmers Don't Dance”

The Construction of Gender in a Rural Scottish School

Fiona G. Menzies and Ninetta Santoro

. 2002 . “ Of Tractors and Men: Masculinity, Technology and Power in a French Farming Community. ” Sociologia Ruralis 42 ( 2 ): 143 – 159 . 10.1111/1467-9523.00207 Scottish Government . 2017 . “ Scottish