Search Results

You are looking at 21 - 30 of 33 items for :

  • "digital media" x
  • Gender Studies x
  • All content x
Clear All
Free access

Sharing Images, Spoiling Meanings?

Class, Gender, and Ethics in Visual Research with Girls

Janet Fink and Helen Lomax

available in print and digital media. The endurance of images, with their potential to preserve these girls in this momentary pose, for “time immemorial” ( Brady and Brown 2013: 102 ) means that we have a responsibility to consider how this image may be read

Free access

The Doll “InbeTween”

Online Doll Videos and the Intertextuality of Tween Girl Culture

Jessica E. Johnston

/bbctrending-the-secret-world-of-animated-doll-videos (accessed 10 January 2017 ). Weber , Sandra , and Claudia Mitchell . 2008 . “Imaging, Keyboarding, and Posting Identities: Young People and New Media Technologies.” In Youth, Identity, and Digital

Free access

Tweens as Technofeminists

Exploring Girlhood Identity in Technology Camp

Jen England and Robert Cannella

technologies have proliferated. For example, Elizabeth Chamberlain and others (2015) have led the Digital Media Academy while Paula MacDowell (2015) has facilitated 101 Technology Fun, 1 and Kristine Blair and others have written extensively about their

Free access

From Selfies to Sexting

Tween Girls, Intimacy, and Subjectivities

Antonio García-Gómez

victims of sexualization. Tween Girls: Legal Considerations of Sexting As debates in the mass media, law, and (feminist) digital media studies have highlighted, young adolescents seem to have developed a special interest in posting sexual images and

Free access

“Stumbling Upon Feminism”

Teenage Girls’ Forays into Digital and School-Based Feminisms

Crystal Kim and Jessica Ringrose

-based microactivism, which breaks down the false binary of the offline and online as separate spheres and negates the perception that the latter does not constitute meaningful IRL change. For instance, Keller’s research on girls and digital media (2012, 2015, 2016

Free access

Brian Bergen-Aurand

This is a special issue on surveilled bodies, with five articles guest edited by Ira Allen, Assistant Professor of Rhetoric, Writing, and Digital Media Studies at Northern Arizona University and Assistant Editor of Screen Bodies. The question here is one of how screens and bodies are brought together through surveillance (visual and otherwise), how surveillance hails the body to attend to it (beckons us to catch a glimpse of here or there) even as it hides itself from the body, working to be noticed yet remaining unnoticed, in order to keep us “on our toes.” In this light, surveillance is not only about investigating, examining, logging, and controlling the body but also about bringing the body into being as a body-to-be-surveilled, about interpolating the body into becoming evermore surveillable in ever-more granular ways.

Restricted access

Peter Lurie, Antonio Sanna, Hansen Hsu, Ella Houston, and Kristof van Baarle

ambitious while being both selective and representative of American cinema broadly speaking. The future of digital media is not clear; yet neither, quite, is the cinema’s past, particularly at the junctures Maurice treats and whose ideological fault lines

Free access

Editorial

Screening Vulnerability

Brian Bergen-Aurand

of this issue. We hope their visions and commitment to the study of bodies and screens will see us through to a new stage in the evolution of Screen Bodies . Ira Allen teaches rhetoric, writing, and digital media studies at Northern Arizona

Restricted access

Lieke Hettinga and Terrance Wooten

using their own counter-technologies—multimedia performance and film/video, digital art, popular literary memoir, and digital media. Each chapter is networked together in a nonlinear fashion, and sometimes the order seems intentionally and productively

Restricted access

On Shock Therapy

Modernist Aesthetics and American Underground Film

William Solomon

environment. Before bringing Benjamin’s hermeneutic contention to bear on the work of two American underground filmmakers who were active in the 1960s, I would like to take a final detour through a contemporary use of digital media in the hope of further