Suchergebnisse

Cover -- Dedication -- Title Page -- Copyright Page -- Table of Contents -- List of Illustrations -- Acknowledgements -- Introduction: 'The Australian Country Girl' -- PART I ASSEMBLING AUSTRALIAN COUNTRY GIRLHOOD -- 1 Becoming a Country Girl (Gough, Kate, the CWA, and Me) -- 2 Miss Showgirl (Rural Girlhood and Representation) -- PART II HISTORY, IMAGE, EXPERIENCE -- 3 The Bush-Girl (a Pastoral) -- 4 The Country Town Girl (a Soap Opera) -- PART III PLACE AND PRACTICE -- 5 Subjects of Distance: (Country) Girl Culture Capital -- 6 Home Economics (Nowhere to Go, Nothing to Do) -- 7 Ex-Country Girls (a Human Geography) -- Bibliography -- Index.

In Australia, 'country girl' names a field of experiences and life-stories by girls and women who have grown up outside of the demographically dominant urban centres. It also names a set of ideas about Australia that is surprisingly consistent across the long twentieth century despite also working as an index of changing times. This book offers a fresh perspective on this history and a new focus on the ever-changing experience of Australian rural life. It argues that the country girl has not only been a long-standing counterpart to the Australian bush man she has, more importantly, figured as.

The collective Tiqqun's 2001 tract, Raw Materials for a Theory of the YoungGirl, in which they stress the way modern girl culture represents the triumph of capitalism, has recently drawn fresh attention. Here I consider the argument about girls made in this text and its perhaps surprising relevance to contemporary feminist accounts of girlhood and girl culture.

Cover -- Title -- Copyright -- Dedication -- Contents -- List of figures -- Series editors' introduction -- Acknowledgements -- Introduction: 'The Hunger Games' -- 1 Choose your own adventure: survival, adulthood, and other fantasies -- 2 Katniss Everdeen, girl hero -- 3 Team Katniss: in the arena of romance -- 4 The train from District 12: Panem as dystopia -- 5 'The Hunger Memes': film, fans, and speculation as critique -- Bibliography -- Index

Why is it that we watch Mad Men and think it represents a period? Flashes of patterned wallpaper, whiskey neat, babies born that are never mentioned, contact lining for kitchen drawers, Ayn Rand, polaroids, skinny ties, Hilton hotels, Walter Cronkite, and a time when Don Draper can ask 'What do women want?' and dry old Roger Sterling can reply 'Who Cares?' This essay explores the embrace of period detail in Mad Men finding it to be both loving and fetishistic, and belonging, like all period film, to the politics of the present.

In 1965 Diana Rigg, aka Mrs Emma Peel, burst onto English television screens in the 'spy-fi' series The Avengers (Roy Baker, 1965) wearing, amongst other things, a skin-tight black vinyl catsuit. Her costumes offered a visual excess which reinforced the effects of the series'
highly stylized mise-en-scène. This visual excess was also played out in public life, where Mrs Peel's clothes were available in retail outlets, and Diana Rigg as exemplary modern woman wore some of the styles both as public obligation and private pleasure. This article outlines
the way the catsuit, as worn by Mrs Peel, is part of a technological nexus: its fabrication, its implicit and imminent activity and its sexual narrative. In her catsuit Mrs Peel represents and manifests the modern technological body, and this clothed body became central to conflict in The
Avengers' narrative. But despite being strapped to a drainpipe or bound into a catsuit Mrs Peel was always firmly in control.