Xena, Buffy, Lara Croft. WWF, The Sopranos, Witchblade, La Femme Nikita. The women of pop culture are center stage and as tough as ever. Action Chicks is a groundbreaking collection highlighting the heroines we've grown to worship. What can they tell us about women in the Twent-first-century? What can they tell us about how popular culture depicts women? Do the characters escape traditional gender role expectations? Or do they adhere to sexual, racial, ethnic, and class stereotypes? The essays in Action Chicks provide fans with a new look at their favourite icons and their relationship to the popular media machine. A fascinating collection that's bound to stir up some excitement.

With actress Pam Grier's breakthrough in Coffy and Foxy Brown, women entered action, science fiction, war, westerns and martial arts films--genres that had previously been considered the domain of male protagonists. This ground-breaking cinema, however, was--and still is--viewed with ambivalence. While women were cast in new and exciting roles, they did not always arrive with their femininity intact, often functioning both as a sexualized spectacle and as a new female hero rather than female character. This volume contains an in-depth critical analysis and study of the female hero in popular film from 1970 to 2006. It examines five female archetypes: the dominatrix, the Amazon, the daughter, the mother and the rape-avenger. The entrance of the female hero into films written by, produced by and made for men is viewed through the lens of feminism and post-feminism arguments. Analyzed works include films with actors Michelle Yeoh and Meiko Kaji, the Alien films, the Lara Croft franchise, Charlie's Angels, and television productions such as Xena: Warrior Princess and Alias.

Xena, Buffy, Lara Croft. WWF, The Sopranos, Witchblade, La Femme Nikita. The women of pop culture are center stage and as tough as ever. Action Chicks is a groundbreaking collection highlighting the heroines we've grown to worship. What can they tell us about women in 2003? What can they tell us about how popular culture depicts women? Do the characters escape traditional gender role expectations? Or do they adhere to sexual, racial, ethnic, and class stereotypes? The essays in Action Chicks provide fans with a new look at their favorite icons and their relationship to the popular media machine. A fascinating collection that's bound to stir up some excitement.

Three independent chicks who dare to be different are reprimanded by the other barnyard residents for not being quiet and docile, until the smart, fearless trio takes on a runaway tractor.

From re-runs of 'TV classics' like The Avengers or Starsky and Hutch, to soundtracks, club nights and film remakes such as Mission Impossible II, the action series is enjoying a popular revival. Yet little attention has been paid to the history, nature and enduring appeal of the action series, and its place in popular culture, past and present. Action TV traces the development of the action series from its genesis in the 1950s. From The Saint to Knigh t Rider, contributors explore the key shows which defined the genre, addressing issues of audiences and consumption, gender and sexuality, fashion and popular culture. They examine the institutional and cultural factors influencing the action series, and relate shifts in the genre to other forms of popular culture including film, pop music, fashion and popular literature. Chapters include: * Of leather suits and kinky boots: The Avengers, style and popular culture * 'Who loves ya, baby?': Kojak, action and the great society *'A lone crusader in a dangerous world': heroics of science and technology in Knight Rider * Angels in chains? feminism, femininity and consumer culture in Charlie's Angels * 'Who's the cat that won't cop out?' Black masculinity in American action shows of the sixties and seventies

Private gun ownership for self-defense remains a major personal and public issue in the United States, driven by concerns about crime, vulnerability and a range of ‘ideological’ factors, including race and gender. As media attention centres upon the extent to which women are taking up firearms, with the gun lobby and firearms manufacturers celebrating the ‘new armed woman’, and guns being promoted as ‘Rape Prevention Kits’, this book explores the changing gendered aspects of gun ownership. Can ownership of firearms by women be considered, as some have claimed, the embodiment of what might be termed ‘pioneer feminism’, as women resist male violence in a dangerous world, or are different stories told by the prominence of women in firearms control campaigns, or the fact that women remain frequent victims of male gun ownership? Analysing representations of the ‘armed woman’ in firearm and gun lobby marketing and advertising campaigns, together with television and popular music forms, Gender and Firearms: My Body, My Choice, My Gun examines the directions taken in the public debate on weaponisation in the United States, considering the role of women in the politics of gun safety and gun control. The book draws on statistical evidence in order to shed light on trends in gun ownership, whilst engaging with feminist scholarship on the relationship between gender, violence, risk and vulnerabilities, thus opening up critical new debates surrounding identity, performance, gender and risk in contemporary societies. As such the book will be of likely interest to sociologists and scholars of sociology, criminology, and cultural and media studies with interests in gender, embodiment, risk, crime and violence.

A timely intervention into debates on the representation of feminist and feminine identities in contemporary visual culture. The essays in this collection interrogate how and why certain formulations of feminism and femininity are currently prevalent in mainstream cinema and television, offering new insights into postfeminist media phenomena.