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

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Daddy’s Little Sidekick: The Girl Superhero in Contemporary Cinema(Brian Singer, 2000) and continuing to the present day, has provided three of the ten highest grossing films of all time (. [Joss Whedon, 2012]; . [Shane Black, 2013]; . [Christopher Nolan, 2012]);. earned a new cultural respectability for superheroes through Christopher Nolan’s . trilogy (. [2005];

無(wú)可非議

2634-5951 long been a figure of fascination for cinema. The symbol of (imagined) childhood innocence, the site of intrigue and nostalgia for adults, a metaphor for the precarious nature of subjectivity itself, the girl is?caught between infancy and adulthood, between objectification and power. She?speaks to

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Book 2016 a figure of fascination for cinema. The symbol of (imagined) childhood innocence, the site of intrigue and nostalgia for adults, a metaphor for the precarious nature of subjectivity itself, the girl is?caught between infancy and adulthood, between objectification and power. She?speaks to many stran

evasive

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A Phenomenology of Girlhood: Being Mia in , (Andrea Arnold, 2009) announcing that girls like Mia should not be dismissed or underestimated. The film achieves this by creating Mia’s very particular experiences at this pivotal point in her young life, and evoking the rhythms and relationships of this 15-year-old girl in her place in contemporary British society.

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Desire, Outcast: Locating Queer Adolescenceions, the teen finds herself . childhood (if biology does its job); . adulthood (if society does . job); if not, then . both … or neither. The word “pariah” and its definition riff on this prepositioning, sitting neatly in a poster in justified font between the girl’s original image and her reflection.

機(jī)警

Chica Dificil”: Music, Identity, and Agency in , (Patricia Cardoso, 2002)st. While scholars such as Charles Ramírez Berg. and Angharad N. Valdivia. have respectively provided excellent studies of Latina/os in film specifically and media more generally, little attention has been paid to the significant role film music plays in representing young Latina/os and constructing their complex and varied identities.

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Book 2016non Western, and north/south. Drawing on examples from North and South America, Asia, Africa, and Europe, the contributors bring a new understanding of the global/local nature of girlhood and its relation to contemporary phenomena such as post-feminism, neoliberalism and queer subcultures. Containin

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