Search results

Riot grrrl and body politics from the early 1990s
Laura Cofield

, conceptualised within the movement as ‘Girl Love’, both helped and hindered Allison’s resistance to dominant ideals of body shape. Secondly, I examine the negotiation of body weight in the zine series Antisocial Scarlet created by ‘Angry grrrl zines’ -297- Sophie Scarlet in the early 2000s.9 Scarlet’s zine is illustrative of riot grrrls’ critical engagement with commercialised standards of beauty. Her acknowledgement of the internalisation of these discourses, however, is suggestive of a more complicated relationship between her feminism, body image and psychic well

in Ripped, torn and cut
Beineix, Besson, Carax from Diva to Le Grand Bleu
Raphaël Bassan

praise Boy meets girl (Carax, 1984) and to demolish Mauvais sang , two films constructed on the same basis: The protagonists of Boy meets girl show all the contempt that the younger generation has for conventional ideas of beauty, for Hollywood-style glamour which we thought was chiselled in marble

in The films of Luc Besson
Kathrina Glitre

Gerald Mast summarises the structure, ‘boy meets girl; boy loses girl; boy gets girl’ (1979: 4). The patriarchal gender assumptions contained within the New Comedy structure are misleading in relation to studio-era Hollywood romantic comedy. The girl in New Comedy often plays such a minor role that she has little or no dialogue (in Menander’s Dyskolos (The Grouch) she does not even warrant a name). In Hollywood romantic comedy, the girl’s role is central: it is more commonly she who meets the boy and, whether she has immediate designs on him or not, she often initiates

in Hollywood romantic comedy States of the union, 1934–65
Abstract only
Steven Peacock

awkwardly here. A pale grey top complements the shade of the telephone. Her skirt is the same pastel blue as a neighbouring girl’s blouse. Its flowery pattern includes a similar pink to the other girl’s cardigan. While Delphine’s pale colours harmonise with those of her co-workers, the skirt’s busy design stands out against the other clothes’ singular shades [see plate 14 ]. The muted grey jumper contrasts with the skirt’s pastel

in Colour
Finding meaning and identity in the rural Australian landscape
Jonathan Rayner

beset in a dark, Gothic forest, she pushes aside the dry, dead branches of the fallen trees. The girl’s imagination, informed by a culture of the Northern Hemisphere, strives to overcome the inadequacy and recalcitrance of a Southern Hemisphere environment. Laura’s eagerness for education and departure from her lower-class rural backwater seem to exalt imported culture over nature, but the pretensions

in Cinematic countrysides
My life in fanzines
Clare Wadd

that age too. This particular night Kid Jensen was talking about fanzines. I’d never heard of them before, but I loved writing and loved music so I decided I was going to write one. It never occurred to me that being sixteen, living in a town not a city, not really knowing anything much about music, nor, frankly, anything else, and never having seen a fanzine, would be any sort of barrier. Neither did it occur to me that being a girl would be a barrier either. Ever since I’d understood that my brother could do stuff I couldn’t because he was two My life in fanzines

in Ripped, torn and cut
Open Access (free)
Serious Charge and film censorship
Tony Aldgate

too liable to believe anything about the parson. A village girl, pregnant by the local bad lad, comes to the vicar for advice and on her way out sees his maid in the arms of her seducer. She flings herself under a car and is killed. The vicar has discovered that Larry Thompson is the man and sends for him to tell him he is morally guilty of the girl’s death and to warn him to mend his ways. Larry is

in British cinema of the 1950s
Rob Stone

cottage that has been similarly ‘reconstructed’ in faux-nostalgic fashion reminiscent of the fondly remembered 40–year old film. And finally, the ‘actress’ appears again, made up as Maureen O’Hara and cycling against an off-camera wind machine in front of a stormy Technicolor backdrop. Like Innisfree, she is a palimpsest, an imitation of a mock-up of a myth: an actress playing a common Irish girl impersonating an

in Spanish cinema 1973–2010
Vera Drake
Tony Whitehead

– ‘You’ve got yourself into trouble, haven’t you?’ – but she knows exactly what course of action to take, including advising Susan to ‘make up a fearful fib about some potty aunt or other’. This refers to the legal loophole whereby ‘a termination could be allowed if it could be demonstrated that the woman was in physical danger because of her psychological state’.2 As Leigh points out, ‘of course, a workingclass girl wouldn’t know that, and wouldn’t have access to such an expensive and discreet system’.3 For someone of Susan’s background, the available procedures are

in Mike Leigh
Abstract only
A post-Millennium phenomenon
Steven Peacock

that keeps on giving.’6 And, like a bass-line reverberating across all of these successes, was Stieg Larsson’s Millennium trilogy, in novel and filmed forms: The Girl with the Dragon Tattoo, The Girl Who Played with Fire, and The Girl Who Kicked the Hornets’ Nest.7 The term ‘Nordic noir’ merits qualification. Debates about the constituent elements of film noir fill shelves in academic libraries.8 We can hopefully agree that crime features as a central component in the majority of films categorised as noir.9 In many studies, the specificity of the protagonists

in Swedish crime fiction