nostalgia films. Perhaps most tellingly, these films, such as This is England (2006) and Son of Rambow (2007), although made in the 2000s, are set in a specific period in the recent past—the 1980s. This rapport between boyhood and the elegiac
1980s Boyhood in British Cinema, 2005–2010
Queer Girls’ Voices in the Liberation Era
Amanda H. Littauer
Drawing on letters and essays written by teenage girls in the 1970s and early 1980s, and building on my historical research on same-sex desiring girls and girlhoods in the postwar United States, I ask how teenage girls in the 1970s and early 1980s pursued answers to questions about their feelings, practices, and identities and expressed their subjectivities as young lesbian feminists. These young writers, I argue, recognized that they benefitted from more resources and role models than did earlier generations, but they objected to what they saw as adult lesbians’ ageism, caution, and neglect. In reaching out to sympathetic straight and lesbian public figures and publications, girls found new ways to combat the persistent isolation and oppression faced by youth whose autonomy remained severely restricted by familial, educational, and legal structures.
Marty McFly as a 1980s Teenage Boy Role Model
to films about teenage boys that were set and made in the 1980s, because, however incidentally, they offer role models for those of us who hope to raise slightly less overscheduled boys. (I confess to personal interest; I have two small sons.) When we
Jonathan A. Allan, Chris Haywood, and Frank G. Karioris
1980's. The image is a reworking of the “Creation of Adam” by Michelangelo and was used as part of HIV/AIDS prevention advertising campaign. Although used in the context of HIV/AIDS prevention in the 1990’s, the image has resonance with current
The Infernal Youth of the Cinematic Teenage Vampire
This paper takes a comparative look at the configuration of boyhood as shown in two periods of the vampire film: the teen-vamp explosion of the 1980s, which produced Joel Schumacher’s The Lost Boys, and recent representations in vampire romance such as Edward Cullen in Stephanie Meyer’s The Twilight Saga. In particular, it highlight the tensions between cultural constructions of boyhood and how the young male child himself conforms to, or opposes, ideological impositions. It also pinpoints the opportunities eventuated through the figure of the adolescent vampire as regards the construction of personal agency and self-determination.
Lyn Mikel Brown
Lyn Mikel Brown gives an autobiographical account of her shift in focus from studying girls and theorizing girls and girlhood to working as an activist and advocate for and with girls. Specifically she describes the Maine-based nonprofit organization called Hardy Girls Healthy Women (www.hghw.org) that she founded in 2000. She situates her current praxis historically in the light of her groundbreaking work with Carol Gilligan at the Harvard Project on Women's Psychology and Girls' Development in the 1980s and early 1990s. This work did indeed put the "girls" into Girls' Studies.
This article explores the development of girl characters in works for children and young adults during Perestroika. First, it examines established heroines from the Soviet era, such as Elli in Volkov's Volshebnik izumrudnogo goroda [The wizard of the emerald city], and then goes on to examine the depiction of female protagonists and characters in works written during the late 1980s and early 1990s. The conclusion is that although there was a clear demand for new heroines and a new role model for girls, writers did not succeed in providing strong, independent female characters with a sense of agency. Instead, the Soviet preference for male protagonists continued, with females often being portrayed stereotypically as weak and ineffectual.
Claudia Mitchell and Jacqueline Reid-Walsh
It has been forty years since the feminist classic on women’s health and sexuality, Our Bodies, Our Selves was published. Available first in 1971 and then produced commercially in 1973 (revised, re-issued and, as of October 2011, in its ninth printing), Our Bodies, Our Selves, published by the Boston Women’s Collective, was regarded by many girls and women in the 1970s and 1980s as the book that changed their relationship to their own bodies and to their own health. And indeed, it set the stage for a revisioning of the questions: “Whose bodies?” and “Whose voices?” in health research, and could be regarded as a precursor to such works as Sandra Harding’s (1991) Whose Science? Whose Knowledge? Thinking from Women’s Lives.
A Discussion of American Girl Doll Nostalgia
The American Girl brand of historical dolls and books celebrated its twenty-fifth anniversary in 2011. The girls who first played with American Girl dolls in the 1980s and 1990s are now grown women; their nostalgia for the brand is passionate and complicated, and reminiscences from nineteen such women are the focus of this study. Their nostalgic responses are thoughtful and reflective, at turns unabashedly admiring and astutely critical. The women fondly recall American Girl whilst simultaneously criticizing the company for its consumerism and its representations of American history and American girlhood. Their memories show how nostalgia can be ambivalent and contradictory, and how adults can use childhood nostalgia to reinforce and construct identity narratives.
Screening Narratives of Girl Killers
The term girl heroine is an ambiguous signifier in discourses surrounding action-adventure cinema. Film scholars occasionally refer to adult action heroines as girls, while adolescent warriors remain largely overlooked in the literature. Research on women warriors focuses primarily on “musculinity” films of the 1980s or on more recent “action babe” movies featuring adult women. However, movies like Kick-Ass, Hanna, Violet & Daisy, Hard Candy, True Grit, and The Hunger Games demonstrate that films with adolescent action heroines are increasingly popular. This article argues that contemporary depictions of girl warriors emerge as a result of recent shifts in cultural attitudes towards girlhood sexuality and girlhood aggression. It also argues that the rise of the adolescent action heroine points to anxieties about changes in nuclear family structures, and that contemporary action films imply that young girls should be responsible for maintaining moral order. Ultimately, such films thus contain regressive as well as progressive messages.