There are more important things that need to be talked about than taupe eyeshadow (Rikki Poynter) On 1 October 2014, deaf makeup vlogger Rikki Poynter uploaded a Q&A video on her YouTube channel. This was not a typical question and answer video for
Chloe Krystyna Garcia and Ayesha Vemuri
). However, a growing number of women and girls are using social media such as blogs and YouTube for free critical expression about gender, identity, and sexuality ( Muise 2011 ; Rossie 2015 ; Wood 2008 ). Here, social media is harnessed as what Jonathan
Online Doll Videos and the Intertextuality of Tween Girl Culture
Jessica E. Johnston
Like many tweens in the late 1990s, I played with American Girl dolls. At the time, I would never have imagined that some years later girls would be filming and uploading videos to YouTube of their dolls dancing to Taylor Swift, sledding in the snow
Grace Helbig’s Affective Aesthetics
Designating herself “the internet’s awkward older sister” ( Zinoman 2014: n.p. ), Grace Helbig’s performative self-representation merges a DIY aesthetic of authenticity with the perception of immediacy and spontaneity afforded by the YouTube
Women Beauty Vloggers’ Self-Representations, Transformations, and #thepowerofmakeup
My Pale Skin’s “YOU LOOK DISGUSTING” anti-bullying video, which is from July 2015, critiques cultural expectations about femininity. My Pale Skin describes her experiences posting images with and without any makeup to social media sites. The YouTube
Digitalized Memories of the Rhodesian Bush War
Ane Marie Ørbø Kirkegaard
identity group seems to be forming around a representational theme on YouTube, memorizing the Rhodesian Bush War (or the Liberation War), 1 where a shift from a self-centered to a collective narrative can be seen (for a discussion of such shifts, see
Multimodal Extension in the Works of Aleix Saló
Javier Muñoz-Basols and Marina Massaguer Comes
animated book trailer uploaded to YouTube on 25 May 2011, 9 which the author would later describe as a ‘winning horse’. 10 In it, he narrates a well-documented, satirical chronicle of the causes and effects of Spain’s property bubble. By combining
This article analyzes an emergent genre of tween and teen girl confessional videos on YouTube where girls ask their viewers to comment on whether they are pretty or not. While the very existence of this genre is frequently explained away as a symbol of young girls' dwindling self-esteem in the contemporary moment, this article locates them within a self-identificatory gendered neoliberal brand culture so as to examine the ways in which they reproduce an economic model of the successful white middle class girl.
Claudia Mitchell and Jacqueline Reid-Walsh
We take the title of our editorial introduction to this themed issue of Girlhood Studies from Sandrina de Finney’s lead article in which she explores “alternative conceptualizations of trauma, place, and girlhood that might enact a more critical, politicized girlhood studies.” Contributions to this issue offer what the guest editors refer to as a re-description of girls in crisis. In so doing not only do they offer challenges to definitions of crisis, they also deepen our understanding of what transformative practices might look like. From a consideration of Indigenous girlhood in Canada to a study of country girls in Australia, from work on YouTube to Holloback! and other social media platforms to girls’ digital representations of their own safety, and from changes in newspaper discourse about murdered girls to a consideration of work done with incarcerated girls, we are invited to re-think this notion of girls-in-crisis, and its significance.
Al-Hubb Thaqafa and the New Frontiers of Sexual Expression in Arabic Social Media
Shereen El Feki, Elise Aghazarian and Abir Sarras
Al-Hubb Thaqafa ('Love is Culture') is a new Arabic social media platform, providing accurate and unbiased information on love, relationships and sexuality. Its website, Facebook page, Twitter feed and YouTube channel offer visitors unprecedented opportunities for interaction, exchanging ideas and opinions not only with experts affiliated with Al-Hubb Thaqafa, but also with fellow users; for all the high hopes of greater freedom of expression in the wake of the 2011 uprisings, such opportunities remain rare, in both politics and personal life, in most countries of the Arab region. Although its content, and language, were initially designed for an Egyptian audience, Al-Hubb Thaqafa has attracted Arabic-speaking visitors from around the world; its combined platforms have been visited more than nine million times since its launch in March 2014.