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How to Survive the Postfeminist Impasse

Grace Helbig’s Affective Aesthetics

Catherine McDermott

, screen, and digital media are beginning to express a dissatisfaction with postfeminist “happiness scripts” ( Ahmed 2010: 59 ). 1 For instance, I argue elsewhere ( McDermott 2017 ) that the television series Girls (20122017) is characterized by

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The Girl in the GIF

Reading the Self into Girlfriendship

Akane Kanai

explores the possibilities of digital media in helping to transcend those restrictions on femininity that aim to render girls docile and passive (see, for example, Keller 2015 ). Other discussions have focused explicitly on girls’ online negotiations of

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Melanie Kennedy and Natalie Coulter

, the circumstances of her death and the debates this generated in the media simultaneously shore up the notion of her having been an at-risk girl, and attach this label to her. Concerns about the ways in which girls navigate the contemporary digital

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Jacqueline Reid-Walsh and Kirstin Bratt

Perhaps it is more obvious in the present day, surrounded as we are by cell phones and other electronic devices transmitting information and messages in images and words instantaneously, but for over a hundred years the lives of girls—middle class girls in particular—have been mediated to a large extent by the plethora of texts that surround them. These texts are largely fictional narratives in different formats such as novels, magazines, television shows and films, many of which appear as digital media. Some of these texts are composed by adults, often women, and are directed at girl readers and viewers in an effort to establish a direct or indirect pedagogical relationship with them. Then again, depending often on how fantasy and desire is constructed in the narrative, other texts have no apparent pedagogical function, serving instead as sites (some adult-sanctioned and some not) of escape from reality. Other texts are created by the girls themselves and are directed at members of their own age group either as texts of peer education or of entertainment.

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Chloe Krystyna Garcia and Ayesha Vemuri

online media, key elements of digital media should be analyzed, including production, representation, language, and audience. Examining these different layers of digital media “means developing a much broader critical understanding which addresses the

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Sarah Hill

A growing body of work in girls’ media studies, with which this article is aligned, addresses girls as active users and producers in the digital media landscape ( Holmes 2017 ; Kearney 2011 ; Keller 2015 ; Shields Dobson 2015 ) and seeks to

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Technologies of Nonviolence

Ethical Participatory Visual Research with Girls

Astrid Treffry-Goatley, Lisa Wiebesiek, Naydene de Lange, and Relebohile Moletsane

(2011) , and Munyaradzi Murove (2009) . We focus on two emerging PVMs, digital storytelling (DST) and cellphilms, both of which involve media-based technologies. DST is a blend of digital media production and oral storytelling. Over the past two decades

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Their Journey to Triumphant Activism

14 Young Women Speak Out

Nokukhanya Ngcobo

I was reading this collection I realized how courageous the journeys were that these young women undertook from their first undergraduate year when they joined a research project, Digital Media for Change and Well-being: Girl-led ‘From the Ground Up

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Mixed Message Media

Girls’ Voices and Civic Engagement in Student Journalism

Piotr S. Bobkowski and Genelle I. Belmas

extracurricular journalism opportunities, and approximately 18 percent of US students in grades 10 to 12 take journalism classes or produce student news publications or digital media ( Bobkowski et al. 2012 , 2017). While white students are more likely than non

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Personal, Powerful, Political

Activist Networks by, for, and with Girls and Young Women

Catherine Vanner and Anuradha Dugal

. “ Left out? Digital media, radical politics and social change ” Information, Communication & Society , 19 ( 3 ): 346 – 361 . . 10.1080/1369118X.2015.1109698 Gonick , Marnina , Emma Renold , Jessica