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1990s style and the perennial return of Goth
Catherine Spooner

staff and then the pupils of a school with the objective of making everyone conform and therefore happy The (female) alien is disguised as the new girl at the school, a stock character in the teen film narrative, who therefore is literally as alienated as the five teenagers she falls in with who eventually unmask and defeat her. These five are directly modelled on the archetypes of The Breakfast Club

in Fashioning Gothic bodies
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The double and the single woman
Catherine Spooner

the likes of Cosmopolitan, and espoused by Allie herself. Hedy’s first attempts to look like Allie are couched within the terms of the conventional ‘makeover’, a common feature of women’s magazines and also of films with a female target audience, from teen films such as Clueless (1995) and She’s All That (1998) to blockbusters such as the Sandra Bullock vehicle Miss

in Fashioning Gothic bodies
Horror and generic hybridity
Andy W. Smith

generic forms. 1980s teen cinema: ‘Don’t you forget about me’ The opening of John Hughes’ 1985 teen film The Breakfast Club begins with an on-screen quote from the David Bowie song ‘Changes’: And these children that you spit on, As they try to change their worlds Are

in Monstrous adaptations
Women, domesticity and the female Gothic adaptation on television
Helen Wheatley

York : Routledge . Morley , D. ( 1992 ), Television Audiences and Cultural Studies, London : Routledge . Moseley , R. ( 2002 ), ‘ Glamorous witchcraft: gender and magic in teen film and television ’, Screen 43 : 4 , 403–422 . Moseley , R. , and J. Read ( 2002 ), ‘ “Having it Ally”: popular television (post-)feminism ’, Feminist Media Studies 2 : 2 , 231–249 . Nelson , R. ( 2001 ), ‘ Costume Drama ’, in G. Creeber (ed.), The Television Genre Book , London : BFI . Pidduck , J. ( 1998 ), ‘ Of windows and country walks: frames

in Popular television drama
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Julia M. Wright

. 34 Lynn Spigel, Welcome to the Dreamhouse: Popular Media and the Postwar Suburbs (Durham, NC: Duke University Press, 2001 ), p. 128. See also Rachel Moseley, “Glamorous witchcraft: gender and magic in teen film and television,” Screen , 43:4 ( 2002 ), 403–22; Wheatley, Gothic Television , who builds on Spigel and Moseley (p. 141

in Men with stakes