[1]
A. Press, ‘Feminism and Media in the Post-feminist Era’, Feminist Media Studies, vol. 11, no. 1, pp. 107–113, Mar. 2011, doi: 10.1080/14680777.2011.537039.
[2]
C. Brunsdon and L. Spigel, Feminist television criticism: a reader, 2nd ed. Maidenhead: Open University Press, 2008.
[3]
S. Thornham, Feminist film theory: a reader. Edinburgh: Edinburgh University Press, 1999.
[4]
K. Hollinger, Feminist film studies. Abingdon: Routledge, 2012.
[5]
A. McRobbie, The aftermath of feminism: gender, culture and social change. London: Sage, 2009 [Online]. Available: http://www.vlebooks.com/vleweb/product/openreader?id=Brighton&isbn=9781446200346
[6]
A. McRobbie, The aftermath of feminism: gender, culture and social change. London: Sage, 2009.
[7]
H. Radner, Neo-feminist cinema: girly films, chick flicks and consumer culture. New York: Routledge, 2011.
[8]
Y. Tasker and D. Negra, Interrogating postfeminism: gender and the politics of popular culture, vol. Console-ing passions : television and cultural power. Durham, [N.C.]: Duke University Press, 2007.
[9]
B. J. Dow, Prime-time feminism: television, media culture, and the women’s movement since 1970, vol. Feminist cultural studies, the media, and political culture. Philadelphia, PA: University of Pennsylvania Press, 1996.
[10]
J. McCabe, Feminist film studies: writing the woman into cinema, vol. Short cuts. London: Wallflower, 2004.
[11]
P. Petro, ‘Feminism and Film History’, Camera Obscura: Feminism, Culture, and Media Studies, vol. 8, no. 1 22, pp. 8–27, Jan. 1990, doi: 10.1215/02705346-8-1_22-8.
[12]
A. Hastie, ‘The Collector: Material Histories, Colleen Moore’s Dollhouse and Ephemeral Recollection’’, in Cupboards of curiosity: women, recollection, and film history, Durham, N.C.: Duke University Press, 2007 [Online]. Available: https://staff.brighton.ac.uk/is/learningandteaching/DigRes/DigitalReserve/HD668_hastie_a_the_collector.pdf
[13]
J. Levitin, J. Plessis, and V. Raoul, Women filmmakers: refocusing. New York: Routledge, 2003.
[14]
J. Levitin, J. Plessis, and V. Raoul, Women filmmakers: refocusing. New York: Routledge, 2003 [Online]. Available: http://www.vlebooks.com/vleweb/product/openreader?id=Brighton&isbn=9780203819418
[15]
B. K. Grant, Auteurs and authorship: a film reader. Oxford: Blackwell, 2008.
[16]
G. Gibson-Hudson, ‘The Ties that Bind: Cinematic representations by black women filmmakers.’, Quarterly Review of Film and Video, vol. 15, no. 2, 1994 [Online]. Available: https://staff.brighton.ac.uk/is/learningandteaching/DigRes/DigitalReserve/HD668_gibson_hudson_g_the_ties.pdf
[17]
V. Callahan, Reclaiming the archive: feminism and film history, vol. Contemporary approaches to film and television series. Detroit, Mich: Wayne State University Press, 2010.
[18]
J. M. Bean and D. Negra, A feminist reader in early cinema, vol. A camera obscura book. Durham, N.C.: Duke University Press, 2002.
[19]
K. W. Mahar, Women filmmakers in early Hollywood, vol. Studies in industry and society. Baltimore, Md: Johns Hopkins University Press, 2008.
[20]
M. A. Doane, ‘Film and the Masquerade: Theorising the Female Spectator’, Screen, vol. 23, no. 3–4, pp. 74–88, Sep. 1982, doi: 10.1093/screen/23.3-4.74.
[21]
L. Williams, ‘Feminist film theory: Mildred Pierce and the Second World War’, in Female spectators: looking at film and television, vol. Questions for feminism, London: Verso, 1988 [Online]. Available: https://staff.brighton.ac.uk/is/learningandteaching/DigRes/DigitalReserve/HD668_williams_l_feminist_theory.pdf
[22]
J. Stacey, Star gazing: Hollywood cinema and female spectatorship. London: Routledge, 1994.
[23]
A. S. Walsh, Women’s film and female experience, 1940-1950. London: Praeger, 1986.
[24]
B. Friedan, The feminine mystique. Harmondsworth: Penguin, 1965.
[25]
L. Braudy and M. Cohen, Film theory and criticism: introductory readings, 7th ed. New York: Oxford University Press, 2009.
[26]
C. Gledhill and British Film Institute, Home is where the heart is: studies in melodrama and the woman’s film. London: British Film Institute, 1987.
[27]
C. Brunsdon and L. Spigel, Feminist television criticism: a reader, 2nd ed. Maidenhead: Open University Press, 2008.
[28]
C. Brunsdon and L. Spigel, Feminist television criticism: a reader, 2nd ed. Maidenhead: Open University Press, 2008.
[29]
B. Hooks, Black looks: race and representation. Boston, Mass: South End Press, 1992.
[30]
L. Spigel and D. Mann, Private screenings: television and the female consumer, vol. A Camera obscura book. Minneapolis: University of Minnesota Press, 1992.
[31]
C. Mohanty, ‘Under Western Eyes’’, in Feminism without borders: decolonizing theory, practicing solidarity, Durham, N.C.: Duke University Press, 2003, pp. 17–43 [Online]. Available: https://prism.librarymanagementcloud.co.uk/brighton-ac/items/1399549
[32]
S.-M. Shih, ‘Towards an Ethics of Transnational Encounter, or "When” Does a "Chinese” Woman Become a "Feminist’, Differences, vol. 13, no. 2, 2002 [Online]. Available: https://staff.brighton.ac.uk/is/learningandteaching/DigRes/DigitalReserve/HD668_shih_s_towards_ethics.pdf
[33]
P. Erens, Issues in feminist film criticism. Bloomington: Indiana University Press, 1990.
[34]
G. A. Foster, Women filmmakers of the African and Asian diaspora: decolonizing the gaze, locating subjectivity. Carbondale, Ill: Southern Illinois University Press, 1997.
[35]
E. Shohat and New Museum of Contemporary Art (New York, N.Y.), Talking visions: multicultural feminism in a transnational age, vol. Documentary sources in contemporary art. Cambridge, Mass: MIT, 1998.
[36]
T. M.-H. Trinh, When the moon waxes red: representation, gender and cultural politics, vol. Film/cultural studies. New York: Routledge, 1991.
[37]
S. Dennison, Ed., Contemporary Hispanic cinema: interrogating the transnational in Spanish and Latin American film, vol. A : Monografias. Woodbridge: Tamesis, 2013.
[38]
F. Martin, Screens and veils: Maghrebi women’s cinema, vol. New directions in national cinemas. Bloomington, Ind: Indiana University Press, 2011.
[39]
A. Everett, Returning the gaze: a genealogy of black film criticism, 1909-1949. Durham, [N.C.]: Duke University Press, 2001.
[40]
S. Datta, ‘Globalisation and Representations of Women in Indian Cinema’, Social Scientist, vol. 28, no. 3/4, Mar. 2000, doi: 10.2307/3518191.
[41]
D. Robin and I. Jaffe, Redirecting the gaze: gender, theory, and cinema in the Third World, vol. The SUNY series, cultural studies in cinema/video. Albany: State University of New York Press, 1999.
[42]
E. A. Kaplan, Looking for the other: feminism, film and the imperial gaze. New York: Routledge, 1997.
[43]
Sheldon H. Lu, ‘Soap Opera in China: The Transnational Politics of Visuality, Sexuality, and Masculinity’, Cinema Journal, vol. 40, no. 1, pp. 25–47, 2000 [Online]. Available: http://www.jstor.org/stable/1225816?seq=1#page_scan_tab_contents
[44]
I. Grewal, ‘Global Identities: Theorizing transnational studies of sexuality’, GLQ: A Journal of Lesbian and Gay Studies, vol. 7, no. 4, 2001 [Online]. Available: https://staff.brighton.ac.uk/is/learningandteaching/DigRes/DigitalReserve/HD668_grewal_%20i_global_identities.pdf
[45]
E. Ezra and T. Rowden, Transnational cinema: the film reader, vol. In focus. London: Routledge, 2006.
[46]
E. Atakav, Women and Turkish cinema: gender politics, cultural identity and representation. London: Routledge, 2014.
[47]
C. Geraghty, ‘Re-examining stardom: Questions of texts, bodies and performance’, in Reinventing film studies, London: Bloomsbury Academic, 2011 [Online]. Available: https://staff.brighton.ac.uk/is/learningandteaching/DigRes/DigitalReserve/HD668_geraghty_c_r_examining.pdf
[48]
D. Negra, ‘Introduction’, in In the limelight and under the microscope: forms and functions of female celebrity, London: Continuum, 2011 [Online]. Available: https://staff.brighton.ac.uk/is/learningandteaching/DigRes/DigitalReserve/HD668_negra_d_introduction.pdf
[49]
S. Holmes and S. Redmond, Framing celebrity: new directions in celebrity culture. Abingdon: Routledge, 2006.
[50]
J. Gamson, Claims to fame: celebrity in contemporary America. Berkeley: University of California Press, 1994.
[51]
R. Dyer, Heavenly bodies: film stars and society, 2nd ed. Abingdon: Routledge, 2004.
[52]
C. Lumby, ‘Doing it for themselves? Teenage girls, sexuality and fame’’, in Stardom and celebrity: a reader, Los Angeles, Calif. ; London : SAGE, 2007 [Online]. Available: https://sk.sagepub.com/books/stardom-and-celebrity
[53]
Jeffrey A. Brown, ‘Class and Feminine Excess: The Strange Case of Anna Nicole Smith’, Feminist Review, no. 81, pp. 74–94, 2005 [Online]. Available: http://www.jstor.org/stable/3874342?seq=1#page_scan_tab_contents
[54]
C. Gledhill, Stardom: industry of desire. London: Routledge, 1991.
[55]
E. Cashmore, ‘Buying Beyoncé’, Celebrity Studies, vol. 1, no. 2, pp. 135–150, Jul. 2010, doi: 10.1080/19392397.2010.482262.
[56]
A. Brady, ‘Taking time between g-string changes to educate ourselves: Sinéad O’Connor, Miley Cyrus, and celebrity feminism’, Feminist Media Studies, vol. 16, no. 3, pp. 429–444, May 2016, doi: 10.1080/14680777.2015.1137960.
[57]
D. Marshall, ‘M/C Journal: “Fame’s Perpetual Moment”’, Media/ Culture journal, vol. 7, no. 5, 2004 [Online]. Available: http://www.journal.media-culture.org.au/0411/01-editorial.php
[58]
Su Holmes, ‘“Starring... Dyer?”: Re-visiting Star Studies and Contemporary Celebrity Culture’, Westminster Papers in Communication and Culture, vol. 2, no. 2, doi: 10.16997/wpcc.18. [Online]. Available: http://www.westminsterpapers.org/articles/abstract/10.16997/wpcc.18/
[59]
E. Cashmore, Beyond black: celebrity and race in Obama’s America. London: Bloomsbury Academic, 2012.
[60]
R. DeCordova, Picture personalities: the emergence of the star system in America, [New edition]. Champaign: University of Illinois Press, 2001.
[61]
K. Akass and J. McCabe, ‘What has HBO Ever Done for Women?’, in The essential HBO reader, vol. The philosophy of popular culture, Lexington, Ky: University Press of Kentucky, 2008 [Online]. Available: https://staff.brighton.ac.uk/is/learningandteaching/DigRes/DigitalReserve/HD668_akass_ki_what_has.pdf
[62]
A. D. Lotz, ‘Introduction: Female-Centred Dramas after the Network Era’, in Redesigning women: television after the network era, vol. Feminist studies and media culture, Urbana, Ill: University of Illinois Press, 2006, pp. 1–36 [Online]. Available: https://staff.brighton.ac.uk/is/learningandteaching/DigRes/DigitalReserve/HD668_lotz_am_introduction%20.pdf
[63]
E. Logan, ‘“Quality television” as a critical obstacle: explanation and aesthetics in television studies’, Screen, vol. 57, no. 2, pp. 144–162, Jun. 2016, doi: 10.1093/screen/hjw020.
[64]
T. Nygaard, ‘Girls Just Want to be "Quality”: HBO, Lena Dunham, and ’ conflicting brand identity’, Feminist Media Studies, vol. 13, no. 2, pp. 370–374, May 2013, doi: 10.1080/14680777.2013.771891.
[65]
A. M. Smith, ‘" Orange is the Same White”’, New Political Science, vol. 37, no. 2, pp. 276–280, Apr. 2015, doi: 10.1080/07393148.2014.995401.
[66]
S. M. Enck and M. E. Morrissey, ‘If Orange is the new black, I Must Be Color Blind: Comic Framings of Post-Racism in the Prison-Industrial Complex’, Critical Studies in Media Communication, vol. 32, no. 5, pp. 303–317, Oct. 2015, doi: 10.1080/15295036.2015.1086489.
[67]
J. McCabe and K. Akass, Quality TV: contemporary American television and beyond. London: I.B. Tauris, 2007.
[68]
M. L. Johnson, Third wave feminism and television: Jane puts it in a box, vol. Reading contemporary television. London: I. B. Tauris, 2007.
[69]
A. Imre, ‘Gender and quality television’, Feminist Media Studies, vol. 9, no. 4, pp. 391–407, Dec. 2009, doi: 10.1080/14680770903232987.
[70]
S. Fuller and C. Driscoll, ‘HBO’s : gender, generation, and quality television’, Continuum, vol. 29, no. 2, pp. 253–262, Mar. 2015, doi: 10.1080/10304312.2015.1022941.
[71]
DeClue, Jennifer, ‘Lesbian Cop, Queer Killer: Leveraging Black Queer Women’s Sexuality on HBO’s “The Wire”’, Spectator - The University of Southern California Journal of Film and Television, vol. 31, no. 2, pp. 53–62 [Online]. Available: https://cinema.usc.edu/archivedassets/31_2/6_DeClue.pdf
[72]
I. Whelehan, ‘Becoming girl’, in Girls: feminine adolescence in popular culture & cultural theory, New York: Columbia University Press, 2002 [Online]. Available: https://staff.brighton.ac.uk/is/learningandteaching/DigRes/DigitalReserve/HD668_driscoll_c_the_girl%20.pdf
[73]
I. Whelehan, ‘Ageing Appropriately: Postfeminist Discourses of Ageing in contemporary Hollywood’, in Postfeminism and contemporary Hollywood cinema, J. Gwynne and N. Müller, Eds. Basingstoke: Palgrave Macmillan, 2013 [Online]. Available: https://staff.brighton.ac.uk/is/learningandteaching/DigRes/DigitalReserve/HD668_whelehan_i_ageing_appropriately.pdf
[74]
M. Bell and M. Williams, British women’s cinema, vol. British popular cinema. Abingdon: Routledge, 2010.
[75]
R. Moseley, ‘Glamorous witchcraft: gender and magic in teen film and television’, Screen, vol. 43, no. 4, pp. 403–422, Dec. 2002, doi: 10.1093/screen/43.4.403.
[76]
C. Felando, ‘A certain age: Wes Anderson, Anjelica Huston and modern femininity’, New Review of Film and Television Studies, vol. 10, no. 1, pp. 68–82, Mar. 2012, doi: 10.1080/17400309.2011.632518.
[77]
E. Krainitzki, ‘"Older-wiser-lesbians” and "baby-dykes”: mediating age and generation in New Queer Cinema’, Feminist Media Studies, vol. 16, no. 4, pp. 631–647, Jul. 2016, doi: 10.1080/14680777.2016.1193294.
[78]
S. Chivers, The silvering screen: old age and disability in cinema. Toronto, [Ont.]: University of Toronto Press, 2011.
[79]
Tally, Margaret, ‘“She doesn’t let age define her”1: Sexuality and motherhood in recent “middle-aged chick flicks”’, Sexuality & Culture, vol. 10, no. 2, pp. 33–55.
[80]
D. Jermyn, ‘“Get a life, ladies. Your old one is not coming back”: ageing, ageism and the lifespan of female celebrity’, Celebrity Studies, vol. 3, no. 1, pp. 1–12, Mar. 2012, doi: 10.1080/19392397.2012.644708.
[81]
D. Negra, What a girl wants?: fantasizing the reclamation of self in postfeminism. London: Routledge, 2009 [Online]. Available: https://prism.librarymanagementcloud.co.uk/brighton-ac/items/1472537?query=What+a+girl+wants%3F&resultsUri=items%3Fquery%3DWhat%2Ba%2Bgirl%2Bwants%253F
[82]
F. K. Gateward and M. Pomerance, Sugar, spice and everything nice: cinemas of girlhood, vol. Contemporary film and television series. Detroit [Mich: Wayne State University Press, 2002.
[83]
E. Charlton, ‘"Bad” Girls versus "Good” Girls: Contradiction in the constitution of contemporary girlhood’, Discourse: Studies in the Cultural Politics of Education, vol. 28, no. 1, pp. 121–131, Mar. 2007, doi: 10.1080/01596300601073739.
[84]
K. Kapurch, ‘Rapunzel Loves Merida: Melodramatic Expressions of Lesbian Girlhood and Teen Romance in , and Femslash’, Journal of Lesbian Studies, vol. 19, no. 4, pp. 436–453, Oct. 2015, doi: 10.1080/10894160.2015.1057079.
[85]
A. Harris, All about the girl: culture, power, and identity. New York: Routledge, 2004.
[86]
T. Lindsey, ‘One Time for My Girls”: African-American Girlhood, Empowerment, and Popular Visual Culture."’, Journal of African American Studies, vol. 17, no. 1, 2013 [Online]. Available: https://staff.brighton.ac.uk/is/learningandteaching/DigRes/DigitalReserve/HD668_lindsey_t_one_time.pdf
[87]
R. N. Brown, Black girlhood celebration: toward a hip-hop feminist pedagogy, vol. Mediated youth. New York: Peter Lang, 2009.
[88]
C. A. Sears and R. Godderis, ‘Roar Like a Tiger on TV?’, Feminist Media Studies, vol. 11, no. 2, pp. 181–195, Jun. 2011, doi: 10.1080/14680777.2010.521626.
[89]
I. Tyler and L. Baraitser, ‘Private View, Public Birth: Making Feminist Sense of the New Visual Culture of Childbirth’, Studies in the Maternal, vol. 5, no. 2, Jul. 2013, doi: 10.16995/sim.18.
[90]
T. Morris and K. McInerney, ‘Media Representations of Pregnancy and Childbirth: An Analysis of Reality Television Programs in the United States’, Birth, vol. 37, no. 2, pp. 134–140, Jun. 2010, doi: 10.1111/j.1523-536X.2010.00393.x.
[91]
I. Tyler, ‘Reframing Pregnant Embodiment’’, [Online]. Available: https://prism.librarymanagementcloud.co.uk/brighton-ac/items/1125852?query=9780203977750&resultsUri=items%3Fquery%3D9780203977750
[92]
L. Irigaray and G. C. Gill, Speculum of the other woman. Ithaca, N.Y.: Cornell University Press, 1985.
[93]
H. Arendt, The human condition, 2nd ed. Chicago: University of Chicago Press, 1998.
[94]
E. Grosz, Volatile bodies: toward a corporeal feminism, vol. Theories of representation and difference. Bloomington: Indiana University Press, 1994.
[95]
A. Mullin, ‘Pregnant bodies, pregnant minds’, Feminist Theory, vol. 3, no. 1, pp. 27–44, Apr. 2002, doi: 10.1177/1460012002003001064.
[96]
R. Parker, ‘Why Study the Maternal’, Studies in the Maternal, vol. 1, no. 1, Jan. 2009, doi: 10.16995/sim.158.
[97]
R. P. Petchesky, ‘Fetal Images: The Power of Visual Culture in the Politics of Reproduction’, Feminist Studies, vol. 13, no. 2, Summer 1987, doi: 10.2307/3177802.
[98]
E. Smith, ‘“They Don’t Teach This in High School: An Examination of the Portrayal of Teenage Pregnancy in the MTV Television Show 16 and Pregnant”,’ Proceedings of the New York State Communication Association, 2010 [Online]. Available: http://docs.rwu.edu/nyscaproceedings/vol2010/iss1/10/
[99]
D. Pollock, Telling bodies performing birth: everyday narratives of childbirth, vol. Popular cultures, everyday lives. New York: Columbia University Press, 1999.
[100]
B. R. Weber, Ed., Reality gendervision: sexuality & gender on transatlantic reality television. Durham: Duke University Press, 2014.
[101]
J. Leggott and J. A. Taddeo, Eds., Upstairs and downstairs: British costume drama television from The Forsyte saga to Downton Abbey. Lanham: Rowman & Littlefield Publishers, 2015.
[102]
S. Douglas, ‘The New Momism’, in The mommy myth: the idealization of motherhood and how it has undermined all women, New York: Free Press, 2005 [Online]. Available: https://staff.brighton.ac.uk/is/learningandteaching/DigRes/DigitalReserve/HD668_douglas_su_the_new.pdf
[103]
L. K. Lopez, ‘The radical act of “mommy blogging”: redefining motherhood through the blogosphere’, New Media & Society, vol. 11, no. 5, pp. 729–747, Aug. 2009, doi: 10.1177/1461444809105349.
[104]
L. Fischer, ‘Introduction: Motherhood and Film: A Critical Genealogy’, in Cinematernity: film, motherhood, genre, Princeton, N.J.: Princeton University Press, 1996 [Online]. Available: https://staff.brighton.ac.uk/is/learningandteaching/DigRes/DigitalReserve/HD668_fischer_l_introduction_motherhood.pdf
[105]
E. A. Kaplan, Motherhood and representation: the mother in popular culture and melodrama. London: Routledge, 1992.
[106]
E. Ann Kaplan, ‘Sex, Work and Motherhood: The Impossible Triangle’, The Journal of Sex Research, vol. 27, no. 3, pp. 409–425, 1990 [Online]. Available: http://www.jstor.org/stable/3812811?seq=1#page_scan_tab_contents
[107]
J. Fink, ‘For Better or for Worse? The Dilemmas of Unmarried Motherhood in Mid‐Twentieth‐Century Popular British Film and Fiction’, Women’s History Review, vol. 20, no. 1, pp. 145–160, Feb. 2011, doi: 10.1080/09612025.2011.536396.
[108]
S. Harwood and J. Campling, Family fictions: representations of the family in 1980s Hollywood cinema. Basingstoke: Macmillan, 1997.
[109]
Desjardins, Mary, ‘Parenting and Reproduction: “Baby Boom”: The Comedy of Surrogacy in Film and Television’, The Velvet Light Trap - A Critical Journal of Film and Television, vol. 29.
[110]
S. Hays, The cultural contradictions of motherhood. New Haven: Yale University Press, 1996.
[111]
L. TROPP, ‘“Faking a Sonogram”: Representations of Motherhood on Sex and the City’, The Journal of Popular Culture, vol. 39, no. 5, pp. 861–877, Oct. 2006, doi: 10.1111/j.1540-5931.2006.00309.x.
[112]
E. Ault, ‘“You Can Help Yourself/but Don’t Take Too Much”: African American Motherhood on The Wire’, Television & New Media, vol. 14, no. 5, pp. 386–401, Sep. 2013, doi: 10.1177/1527476412452797.
[113]
A.-M. Hancock, The politics of disgust: the public identity of the welfare queen. New York, N.Y.: New York University Press, 2004.
[114]
L. Fitzgerald, ‘Negotiating lone motherhood : gender, politics and family values in contemporary popular cinema’ [Online]. Available: http://ueaeprints.uea.ac.uk/10577/
[115]
L. D. Friedman, Fires were started: British cinema and Thatcherism, 2nd ed. London: Wallflower, 2006.
[116]
T. A. Mills, R. Lavender, and T. Lavender, ‘"Forty is the new twenty”: An analysis of British media portrayals of older mothers’, Sexual & Reproductive Healthcare, vol. 6, no. 2, pp. 88–94, Jun. 2015, doi: 10.1016/j.srhc.2014.10.005.
[117]
J. Warner, Perfect madness: motherhood in the age of anxiety. London: Vermilion, 2006.
[118]
A. Rich, Of woman born: motherhood as experience and institution. New York: Norton, 1995.
[119]
P. Collins, ‘The Meaning of Motherhood in Black culture and Black mother-daughter relationships’, Gender through the prism of difference, 2005 [Online]. Available: https://staff.brighton.ac.uk/is/learningandteaching/DigRes/DigitalReserve/HD668_collins_p_meaning_motherhood.pdf
[120]
R. Feasey, From happy homemaker to desperate housewives: motherhood and popular television. London: Anthem, 2012.
[121]
S. Arnold, Maternal horror film: melodrama and motherhood. Basingstoke: Palgrave Macmillan, 2013.
[122]
K. Keeling, ‘"Ghetto Heaven”: and the Valorization of Black Lesbian Butch-Femme Sociality’, The Black Scholar, vol. 33, no. 1, pp. 33–46, Mar. 2003, doi: 10.1080/00064246.2003.11413202.
[123]
N. Manatu, ‘Love and Romance: Cultural Prescriptive for ‘Appropriate Sexual Behaviours for Men and Women’, in African American women and sexuality in the cinema, Jefferson, N.C.: McFarland & Company, 2002 [Online]. Available: https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.brighton.ac.uk/shibboleth&dest=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780786451449
[124]
A. L. Press, Women watching television: gender, class, and generation in the American television experience. Philadelphia: University of Pennsylvania Press, 1991.
[125]
DeClue, Jennifer, ‘Lesbian Cop, Queer Killer: Leveraging Black Queer Women’s Sexuality on HBO’s “The Wire”’, Spectator - The University of Southern California Journal of Film and Television, vol. 31, no. 2, pp. 53–62 [Online]. Available: https://cinema.usc.edu/archivedassets/31_2/6_DeClue.pdf
[126]
C. Hammond, ‘Channeling Desire: Making Whoopi’, in Impossible bodies: femininity and masculinity at the movies, vol. Comedia, London: Routledge, 2002 [Online]. Available: https://prism.librarymanagementcloud.co.uk/brighton-ac/items/1370020?query=9781315008493&resultsUri=items%3Fquery%3D9781315008493
[127]
K. Keeling, ‘Joining the Lesbians’: Cinematic Regimes of Black Lesbian Visibility’, in Black queer studies: a critical anthology, Durham, N.C.: Duke University Press, 2005 [Online]. Available: https://prism.librarymanagementcloud.co.uk/brighton-ac/items/1370096
[128]
E. Hammonds, ‘Toward a genealogy of black female sexuality: The problematic of silence’, in Feminist theory and the body: a reader, Edinburgh: Edinburgh University Press, 1999.
[129]
F. N. Simmonds, ‘“She’s Gotta Have It”: The Representation of Black Female Sexuality on Film’, Feminist Review, no. 29, Summer 1988, doi: 10.2307/1395143.
[130]
P. Hill Collins, Black sexual politics: African Americans, gender, and the new racism. New York: Routledge, 2004 [Online]. Available: http://www.vlebooks.com/vleweb/product/openreader?id=Brighton&isbn=9780203309506
[131]
P. Hill Collins, Black sexual politics: African Americans, gender, and the new racism. New York: Routledge, 2005.
[132]
M. Diawara and American Film Institute, Black American cinema, vol. AFI film readers. New York: Routledge, 1993 [Online]. Available: http://www.vlebooks.com/vleweb/product/openreader?id=Brighton&isbn=9780203873304
[133]
M. Diawara and American Film Institute, Black American cinema, vol. AFI film readers. New York: Routledge, 1993 [Online]. Available: https://prism.librarymanagementcloud.co.uk/brighton-ac/items/1370008?query=work%3A9bc7e801-a7ac-5c14-b731-7d47e2c98528&resultsUri=items%3Fquery%3Dwork%253A9bc7e801-a7ac-5c14-b731-7d47e2c98528%26facet%255Bexpand%255D%3Dwork%253A9bc7e801-a7ac-5c14-b731-7d47e2c98528&facet%5Bexpand%5D=work%3A9bc7e801-a7ac-5c14-b731-7d47e2c98528
[134]
R. A. EMERSON, ‘“Where My Girls At?”: Negotiating Black Womanhood in Music Videos’, Gender & Society, vol. 16, no. 1, pp. 115–135, Feb. 2002, doi: 10.1177/0891243202016001007.
[135]
D. P. Stephens and L. D. Phillips, ‘Freaks, gold diggers, divas, and dykes: The sociohistorical development of adolescent African American women’s sexual scripts’, Sexuality and Culture, vol. 7, no. 1, pp. 3–49, Mar. 2003, doi: 10.1007/BF03159848.
[136]
B. Hooks, Outlaw culture: resisting representations, vol. Routledge classics. New York: Routledge, 2006.
[137]
L. M. Cuklanz and S. Moorti, ‘Television’s "New” Feminism: Prime-Time Representations of Women and Victimization’, Critical Studies in Media Communication, vol. 23, no. 4, pp. 302–321, Oct. 2006, doi: 10.1080/07393180600933121.
[138]
S. Projansky, ‘Film and Television Narratives at the intersection of postfeminism and rape’, in Watching rape: film and television in postfeminist culture, New York: New York University Press, 2001 [Online]. Available: https://staff.brighton.ac.uk/is/learningandteaching/DigRes/DigitalReserve/HD668_projansky_sa_film_and.pdf
[139]
L. Coulthard, ‘Killing Bill: rethinking violence and feminist theory’’, in Interrogating postfeminism: gender and the politics of popular culture, vol. Console-ing passions : television and cultural power, Durham, [N.C.]: Duke University Press, 2007 [Online]. Available: https://staff.brighton.ac.uk/is/learningandteaching/DigRes/DigitalReserve/HD668_coulthard_l_killing_bill.pdf
[140]
Ian Reilly, ‘“Revenge is Never a Straight Line”: Transgressing Heroic Boundaries: Medea and the (Fe)Male Body in “Kill Bill”’, Studies in Popular Culture, vol. 30, no. 1, pp. 27–50, 2007 [Online]. Available: http://www.jstor.org/stable/23416196?seq=1#page_scan_tab_contents
[141]
D. Ferreday, ‘Game of Thrones, Rape Culture and Feminist Fandom’, Australian Feminist Studies, vol. 30, no. 83, pp. 21–36, Jan. 2015, doi: 10.1080/08164649.2014.998453.
[142]
W. Clapton and L. J. Shepherd, ‘Lessons from Westeros: Gender and power in Game of Thrones’, Politics, Apr. 2016, doi: 10.1177/0263395715612101.
[143]
Gilpatric, Katy, ‘Violent Female Action Characters in Contemporary American Cinema’, Sex Roles, vol. 62, no. 11, pp. 734–746 [Online]. Available: http://search.proquest.com/docview/646310144/EA24B561EFC944F3PQ/3?accountid=9727
[144]
M. Haskell, From reverence to rape: the treatment of women in the movies, 2nd ed. Chicago: University of Chicago Press, 1987.
[145]
D. Hassler-Forest, ‘Game of Thrones: Quality Television and the Cultural Logic of Gentrification’, TV/Series, no. 6, Dec. 2014, doi: 10.4000/tvseries.323.
[146]
S. Brinson, ‘The Use and Opposition of Rape Myths in Prime-Time Television Dramas’, Sex Roles, vol. 27, no. 7/8, 1992 [Online]. Available: https://staff.brighton.ac.uk/is/learningandteaching/DigRes/DigitalReserve/HD668_brinson_s_use_opposition%20.pdf
[147]
H. Neroni, The violent woman: femininity, narrative, and violence in contemporary American cinema, vol. SUNY series in feminist criticism and theory. Albany: State University of New York, 2005.
[148]
A. Gjelsvik and R. Schubart, Eds., Women of ice and fire: gender, Game of thrones, and multiple media engagements. London: Bloomsbury, 2016.
[149]
D. Currie, D. M. Kelly, and S. Pomerantz, ‘Girl power’: girls reinventing girlhood, vol. Mediated youth. New York: Peter Lang, 2009.
[150]
C. Mitchell and J. Reid-Walsh, Seven going on seventeen: tween studies in the culture of girlhood, vol. Counterpoints. New York, N.Y.: Peter Lang, 2005 [Online]. Available: http://www.loc.gov/catdir/toc/ecip051/2004022766.html
[151]
Y. Tasker, Soldiers’ stories: military women in cinema and television since World War II. Durham, [N.C.]: Duke University Press, 2011.
[152]
M. Bell and M. Williams, British women’s cinema, vol. British popular cinema. Abingdon: Routledge, 2010.
[153]
J. Bobo, Black women film and video artists, vol. AFI film readers. New York: Routledge, 1998.
[154]
C. Brunsdon and L. Spigel, Feminist television criticism: a reader, 2nd ed. Maidenhead: Open University Press, 2008.
[155]
C. M. Byerly and K. Ross, Women & media: a critical introduction. Malden, Mass: Blackwell, 2006.
[156]
M. Celeste Kearney, ‘Birds on the wire: Troping teenage girlhood through telephony in mid-twentieth-century US media culture’, Cultural Studies, vol. 19, no. 5, pp. 568–601, Sep. 2005, doi: 10.1080/09502380500365499. [Online]. Available: http://www.tandfonline.com/doi/full/10.1080/09502380500365499
[157]
K. Mallan and S. Pearce, Youth cultures: texts, images, and identities. Westport, CT: Praeger, 2003.
[158]
T. Craig and J. LaCroix, ‘Tomboy as Protective Identity’, Journal of Lesbian Studies, vol. 15, no. 4, pp. 450–465, 2011, doi: 10.1080/10894160.2011.532030. [Online]. Available: http://www.tandfonline.com/doi/full/10.1080/10894160.2011.532030
[159]
G. Dönmez-Colin, Women, Islam and cinema. London: Reaktion, 2004.
[160]
S. Faludi, Backlash: the undeclared war against American women, 1st Anchor Books. New York: Anchor Books, 1992 [Online]. Available: http://www.loc.gov/catdir/enhancements/fy0703/92022416-s.html
[161]
S. Ferriss and M. Young, Chick flicks: contemporary women at the movies. London: Routledge, 2008.
[162]
Francis, Terri, ‘Embodied Fictions, Melancholy Migrations: Josephine Baker’s Cinematic Celebrity’’, Modern Fiction Studies, vol. 51, no. 4, pp. 824–845 [Online]. Available: http://search.proquest.com/docview/208045665/AF7AC1486D5E46C7PQ/7?accountid=9727
[163]
G. A. Foster, Women filmmakers of the African and Asian diaspora: decolonizing the gaze, locating subjectivity. Carbondale, Ill: Southern Illinois University Press, 1997.
[164]
R. Gill, ‘Postfeminist media culture: Elements of a sensibility’, European Journal of Cultural Studies, vol. 10, no. 2, pp. 147–166, May 2007, doi: 10.1177/1367549407075898. [Online]. Available: http://ecs.sagepub.com/content/10/2/147.full.pdf+html
[165]
S. D. Walters, Material girls: making sense of feminist cultural theory. Berkeley: University of California Press, 1995.
[166]
J. D’Acci, Defining women: television and the case of Cagney & Lacey. Chapel Hill: University of North Carolina Press, 1994.
[167]
‘Rosalind Gill, “From Sexual Objectification to Sexual Subjectification: The Resexualisation of Women’s Bodies in the Media”’. [Online]. Available: http://mrzine.monthlyreview.org/2009/gill230509.html
[168]
J. Hollows and R. Moseley, Feminism in popular culture. Oxford: Berg, 2006.
[169]
E. A. Kaplan, Women and film: both sides of the camera. London: Methuen, 1983.
[170]
P. Krämer, ‘Women First: “Titanic” (1997), action-adventure films and Hollywood’s female audience’, Historical Journal of Film, Radio and Television, vol. 18, no. 4, pp. 599–618, Oct. 1998, doi: 10.1080/01439689800260421. [Online]. Available: http://www.tandfonline.com/doi/abs/10.1080/01439689800260421
[171]
A. Butler, Women’s cinema: the contested screen, vol. Short cuts. London: Wallflower, 2002.
[172]
N. King, ‘Generic Womanhood: Gendered Depictions in Cop Action Cinema’, Gender & Society, vol. 22, no. 2, pp. 238–260, Apr. 2008, doi: 10.1177/0891243207310715. [Online]. Available: http://gas.sagepub.com/content/22/2/238.full.pdf+html
[173]
S. Lord and A. Burfoot, Killing women: the visual culture of gender and violence, vol. Cultural studies series. Waterloo, Canada: Wilfred Laurier University Press, 2006.
[174]
G. Lloyd, Problem girls: understanding and supporting troubled and troublesome girls and young women. Abingdon: Routledge, 2005.
[175]
A. McRobbie, The aftermath of feminism: gender, culture and social change. London: Sage, 2009 [Online]. Available: https://prism.librarymanagementcloud.co.uk/brighton-ac/items/1330367
[176]
T. Modleski, Feminism without women: culture and criticism in a ‘postfeminist’ age. New York: Routledge, 1991.
[177]
D. Negra, ‘Quality Postfeminism? Sex and the Single Girl on HBO’, 2004. [Online]. Available: https://www.colorado.edu/gendersarchive1998-2013/2004/04/01/quality-postfeminism-sex-and-single-girl-hbo
[178]
D. Negra and Y. Tasker, Eds., Gendering the recession: media and culture in an age of austerity. Durham: Duke University Press, 2014 [Online]. Available: https://prism.librarymanagementcloud.co.uk/brighton-ac/items/1369828
[179]
C. Painter and P. Ferrucci, ‘Gender Games’, Journalism Practice, pp. 1–16, Jan. 2016, doi: 10.1080/17512786.2015.1133251. [Online]. Available: http://www.tandfonline.com/doi/full/10.1080/17512786.2015.1133251
[180]
C. Penley and British Film Institute, Feminism and film theory. New York: Routledge, 1988.
[181]
S. Pomerantz, D. H. Currie, and D. M. Kelly, ‘Sk8er girls: Skateboarders, girlhood and feminism in motion’, Women’s Studies International Forum, vol. 27, no. 5–6, pp. 547–557, Nov. 2004, doi: 10.1016/j.wsif.2004.09.009. [Online]. Available: http://ac.els-cdn.com/S0277539504000536/1-s2.0-S0277539504000536-main.pdf?_tid=03c55396-5312-11e6-b738-00000aacb35d&acdnat=1469524932_e316cefb369ac3ab46602ef7b34eeb41
[182]
A. L. Press, Women watching television: gender, class, and generation in the American television experience. Philadelphia: University of Pennsylvania Press, 1991.
[183]
H. Radner, Neo-feminist cinema: girly films, chick flicks and consumer culture. New York: Routledge, 2011.
[184]
J. A. Radway, Reading the romance: women, patriarchy and popular literature, vol. Questions for feminism. London: Verso, 1987.
[185]
H. Sander and R. Curry, ‘Feminism and Film’, vol. 27, 1982 [Online]. Available: http://www.ejumpcut.org/archive/onlinessays/JC27folder/SanderonFemsmFilm.html
[186]
K. Marciniak, A. Imre, and A. O’Healy, Transnational feminism in film and media, 1st ed., vol. Comparative feminist studies series. New York: Palgrave Macmillan, 2007 [Online]. Available: https://www.brighton.summon.serialssolutions.com/?q=9780230338142#!/search?ho=t&include.ft.matches=t&l=en-UK&q=9780230338142&ebooks.only=true
[187]
B. Skeggs, N. Thumim, and H. Wood, ‘“Oh goodness, I am watching reality TV”: How methods make class in audience research’, European Journal of Cultural Studies, vol. 11, no. 1, pp. 5–24, Feb. 2008, doi: 10.1177/1367549407084961. [Online]. Available: http://ecs.sagepub.com/content/11/1/5.full.pdf+html
[188]
B. Skeggs, Feminist cultural theory: process and production. Manchester: Manchester University Press, 1995.
[189]
Slocum, J. David, ‘Film violence and the institutionalization of the cinema’, Social Research, vol. 67, no. 3, pp. 649–681, 2000 [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&db=buh&AN=3675062&site=ehost-live
[190]
Y. Tasker, Spectacular bodies: gender, genre and the action cinema. London: Routledge, 1993 [Online]. Available: https://prism.librarymanagementcloud.co.uk/brighton-ac/items/1111922
[191]
Y. Tasker, Working girls: gender and sexuality in popular cinema. London: Routledge, 1998.
[192]
Tasker, YvonneNegra, Diane, ‘In Focus: Postfeminism and Contemporary Media Studies’, Cinema Journal, vol. 44, no. 2, pp. 107–110 [Online]. Available: http://search.proquest.com/docview/222247178/fulltext/8E09ECBC19D43B8PQ/1?accountid=9727
[193]
Y. Tasker, Fifty contemporary filmmakers, vol. Routledge key guides. London: Routledge, 2002 [Online]. Available: https://prism.librarymanagementcloud.co.uk/brighton-ac/items/1271229
[194]
G. Turner, Understanding celebrity, Second edition. Los Angeles, California: SAGE, 2013 [Online]. Available: https://prism.librarymanagementcloud.co.uk/brighton-ac/items/1130991
[195]
I. Tyler and B. Bennett, ‘“Celebrity chav”: Fame, femininity and social class’, European Journal of Cultural Studies, vol. 13, no. 3, pp. 375–393, Aug. 2010, doi: 10.1177/1367549410363203. [Online]. Available: http://ecs.sagepub.com/content/13/3/375.full.pdf+html
[196]
V. Walkerdine, Daddy’s girl: young girls and popular culture. Basingstoke: Macmillan, 1997.
[197]
I. Whelehan, Overloaded: popular culture and the future of feminism. London: Women’s Press, 2000.
[198]
W. Monaghan, Queer girls, temporality and screen media: not ‘just a phase’. Basingstoke: Palgrave Macmillan, 2016 [Online]. Available: http://www.vlebooks.com/vleweb/product/openreader?id=Brighton&isbn=9781137555984
[199]
M. Iqani, Consumption, media and the Gobal South: aspiration contested. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2016 [Online]. Available: http://www.vlebooks.com/vleweb/product/openreader?id=Brighton&isbn=9781137390134
[200]
D. Jermyn and S. Holmes, Eds., Women, celebrity and cultures of ageing: freeze frame. Basingstoke, Hampshire: Palgrave Macmillan, 2015 [Online]. Available: http://www.vlebooks.com/vleweb/product/openreader?id=Brighton&isbn=9781137495129
[201]
D. Humphries, Ed., Women, violence, and the media: readings in feminist criminology, vol. The Northeastern series on gender, crime, and law. Boston: Northeastern University Press, 2009 [Online]. Available: http://www.vlebooks.com/vleweb/product/openreader?id=Brighton&isbn=9781555537180
[202]
D. Carson, L. Dittmar, and J. R. Welsch, Eds., Multiple voices in feminist film criticism. Minneapolis: University of Minnesota Press, 1998.