The following piece is an article that was published in October, 2015 on the UCL IOE blog
“In ... more The following piece is an article that was published in October, 2015 on the UCL IOE blog
“In the regular world, Halloween is when children dress up and beg for candy. In girl world, Halloween is the one night of the year when a girl can dress like a total slut and no other girls can say anything about it,” explains Lindsay Lohan in the 2004 cult teen movie, Mean Girls. This statement is testament to the existence of a set of complex unwritten rules that girls must navigate and negotiate with on a daily basis, to avoid being shamed by adults and peers.
Why during a period of proclaimed postfeminist equality for women and girls in education, work, a... more Why during a period of proclaimed postfeminist equality for women and girls in education, work, and the public sphere do we see the fetishisation of a narrative of masculine sexual dominance and feminine sexual pathology being writ large in the popular cultural imagination? Also critical for an educational audience are pedagogical questions about what type of fantasies does 50 Shades sell to women and girls?
Learning Bodies - the body in youth and childhood studies, eds. Julia Coffey, Shelley Budgeon, Helen Cahill
In this chapter we interrogate some of the core ideas of postfeminism as theorized by feminist m... more In this chapter we interrogate some of the core ideas of postfeminism as theorized by feminist media scholars (see McRobbie, 2004 and Gill, 2006) that feminism is in its ‘aftermath’, and largely refuted and disidentified with by girls and young women (Scharff, 2012). Considering the current rise of fourth wave social media feminisms as pedagogical platforms for challenging everyday sexism, we explore the complex dynamics through which girls are taking up, negotiating and performing on and offline feminism in and around school. We focus on a teen feminist group in a London ’theatre’ school, exploring how social media feminisms presented a platform for challenging what Angela McRobbie identifies as dominant trends of postfeminist pathologies of femininity including psychological dissafection and bodily malaise. Drawing on theories of networked affect, we document how this feminist group used social media to oppose their distinctly neo-liberalized and marketized school environment where bodily regulation, perfection and sell-ability reign supreme.
The following piece is an article that was published in October, 2015 on the UCL IOE blog
“In ... more The following piece is an article that was published in October, 2015 on the UCL IOE blog
“In the regular world, Halloween is when children dress up and beg for candy. In girl world, Halloween is the one night of the year when a girl can dress like a total slut and no other girls can say anything about it,” explains Lindsay Lohan in the 2004 cult teen movie, Mean Girls. This statement is testament to the existence of a set of complex unwritten rules that girls must navigate and negotiate with on a daily basis, to avoid being shamed by adults and peers.
Why during a period of proclaimed postfeminist equality for women and girls in education, work, a... more Why during a period of proclaimed postfeminist equality for women and girls in education, work, and the public sphere do we see the fetishisation of a narrative of masculine sexual dominance and feminine sexual pathology being writ large in the popular cultural imagination? Also critical for an educational audience are pedagogical questions about what type of fantasies does 50 Shades sell to women and girls?
Learning Bodies - the body in youth and childhood studies, eds. Julia Coffey, Shelley Budgeon, Helen Cahill
In this chapter we interrogate some of the core ideas of postfeminism as theorized by feminist m... more In this chapter we interrogate some of the core ideas of postfeminism as theorized by feminist media scholars (see McRobbie, 2004 and Gill, 2006) that feminism is in its ‘aftermath’, and largely refuted and disidentified with by girls and young women (Scharff, 2012). Considering the current rise of fourth wave social media feminisms as pedagogical platforms for challenging everyday sexism, we explore the complex dynamics through which girls are taking up, negotiating and performing on and offline feminism in and around school. We focus on a teen feminist group in a London ’theatre’ school, exploring how social media feminisms presented a platform for challenging what Angela McRobbie identifies as dominant trends of postfeminist pathologies of femininity including psychological dissafection and bodily malaise. Drawing on theories of networked affect, we document how this feminist group used social media to oppose their distinctly neo-liberalized and marketized school environment where bodily regulation, perfection and sell-ability reign supreme.
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“In the regular world, Halloween is when children dress up and beg for candy. In girl world, Halloween is the one night of the year when a girl can dress like a total slut and no other girls can say anything about it,” explains Lindsay Lohan in the 2004 cult teen movie, Mean Girls. This statement is testament to the existence of a set of complex unwritten rules that girls must navigate and negotiate with on a daily basis, to avoid being shamed by adults and peers.
“In the regular world, Halloween is when children dress up and beg for candy. In girl world, Halloween is the one night of the year when a girl can dress like a total slut and no other girls can say anything about it,” explains Lindsay Lohan in the 2004 cult teen movie, Mean Girls. This statement is testament to the existence of a set of complex unwritten rules that girls must navigate and negotiate with on a daily basis, to avoid being shamed by adults and peers.