Titlebook: International Cinema and the Girl; Local Issues, Transn Fiona Handyside,Kate Taylor-Jones Book 2016 The Editor(s) (if applicable) and The A

原始

Feminine Adolescence and Transgressive Materiality in the Films of Lucrecia Martel aesthetic project. It explores the local proliferation of girl-images which followed in the wake of Martel’s influential début . (2001), and indicates some of their global resonances. Whilst Martel has come to be seen as a crucial player in the experimental-ism and aesthetic break with previous Arg

放逐某人

CHASE

Desire, Outcast: Locating Queer Adolescences her gaze back in our direction. Her image resides in a movie poster next to a definition of the film’s titular subject: “PARIAH [puh-rahy-uh] . 1. A person without status. 2. A rejected member of society. 3. An out-cast.”. . (Dee Rees, 2011) is a film of escape (about looking out) but also of self

ZEST

虚弱

Resign

narcissism

The Pleasures of Music Video Aesthetics in Girl Teen Filmnces created as “appropriately” fun for girls are generally part of a normative model that stresses femininity as a bodily characteristic and visibility as the girl figures’ only access to power and pleasure.. In the romantic comedy/girl teen film . (Winick, 2004, USA), Jenna (Jennifer Garner) takes

BRAWL

Where’s Girlhood? The Female Child Killer in , (Tony Hickson, 2005)trangled to death two younger boys, Martin Brown (aged four) and Brian Howe (aged three). Unlike other near-contemporary murder cases that had shocked the nation, such as the child-killings dubbed “the Moors Murders” in Manchester three years earlier, Bell’s crimes would not go on to inspire very mu

cornucopia

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