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 teenfilm
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
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 teenfilms such as Clueless (1995) and She’s All That
(1998) to blockbusters such as the Sandra Bullock vehicle Miss
cinema: ‘Don’t you forget about me’
The opening of John Hughes’
1985 teenfilm The Breakfast Club begins with an on-screen quote
from the David Bowie song ‘Changes’:
children that you spit on, As they try to change their
Women, domesticity and the female Gothic adaptation on television
York : Routledge .
Morley , D. ( 1992 ), Television Audiences and Cultural Studies, London : Routledge .
Moseley , R. ( 2002 ), ‘ Glamorous witchcraft: gender and magic in teenfilm 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
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
teenfilm and television,” Screen , 43:4 ( 2002 ), 403–22; Wheatley, Gothic
Television , who builds on Spigel and Moseley (p. 141