When Thelma and Louise outfought the men who had tormented them, women across America discovered what male fans of action movies have long known—the empowering rush of movie violence. Yet the duo's escapades also provoked censure across a wide range of viewers, from conservatives who felt threatened by the up-ending of women's traditional roles to feminists who saw the pair's use of male-style violence as yet another instance of women's co-option by the patriarchy. In the first book-length study of violent women in movies, Reel Knockouts makes feminist sense of violent women in films from Hollywood to Hong Kong, from top-grossing to direct-to-video, and from cop-action movies to X-rated skin flicks. Contributors from a variety of disciplines analyze violent women's respective places in the history of cinema, in the lives of viewers, and in the feminist response to male violence against women. The essays in part one, "Genre Films," turn to film cycles in which violent women have routinely appeared. The essays in part two, "New Bonds and New Communities," analyze movies singly or in pairs to determine how women's movie brutality fosters solidarity amongst the characters or their audiences. All of the contributions look at films not simply in terms of whether they properly represent women or feminist principles, but also as texts with social contexts and possible uses in the re-construction of masculinity and femininity.

Looks at how violent women characters disrupt cinematic narrative and challenge cultural ideals.

Addressing areas such as genre, film history and style, action and spectacle, stars and bodies, action auteurs and the film industry, the reader covers both Hollywood and also European and Asian action cinema.

Some issues include separately paged sections: Better management, Physical theatre, extra profits; Review; Servisection.

Despite the mythology of sport bringing people together and encouraging everyone to work collectively to success, modern sport remains a site of exclusionary practices that operate on a number of levels. Although sports participation is, in some cases at least, becoming more open and meritocratic, at the management level it remains very homogenous; dominated by western, white, middle-aged, able-bodied men. This has implications both for how sport develops and how it is experienced by different participant groups, across all levels. Critical studies of sport have revealed that, rather than being a passive mechanism and merely reflecting inequality, sport, via social agents’ interactions with sporting spaces, is actively involved in producing, reproducing, sustaining and indeed, resisting, various manifestations of inequality. The experiences of marginalised groups can act as a resource for explaining contemporary political struggles over what sport means, how it should be played (and by whom), and its place within wider society. Central to this collection is the argument that the dynamics of cultural identities are contextually contingent; influenced heavily by time and place and the extent to which they are embedded in the culture of their geographic location. They also come to function differently within certain sites and institutions; be it in one’s everyday routine or leisure pursuits, such as sport. Among the themes and issues explored by the contributors to this volume are: social inclusion and exclusion in relation to class, ‘race’ and ethnicity, gender and sexuality; social identities and authenticity; social policy, deviance and fandom. This book was published as a special issue of Sport in Society.

In the broad spectrum of popular culture, one can be a fan of just about anything: comic books, television shows, fantasy novels, movie franchises, musical artists, and so on. Because fans are fluid and ever-changing, however, defining them poses a challenge. As a result, too few scholars have yet to focus on the impact of gender in media consumption, leading to a limited portrait of what male and female fans look for. In Fan Girls and the Media: Creating Characters, Consuming Culture, Adrienne Trier-Bieniek has assembled a collection of essays that demonstrate the gendered aspect of fandom and explore the ways different forms of media challenge stereotypical ideals of how culture is consumed. Contributors examine a wide range of fan issues—from gendered stereotypes in the Star Trek and Twilight franchises to gender roles in Tyler Perry films and The Real Housewives of Atlanta. Other essays look at the female comedy fan community, the appeal of avenging-woman characters written by men, and the use of social media by women in the video-game culture. This collection describes how gender is present in fandom, demonstrating the need to combat the marginalization of female identities in various cultural outlets. Fan Girls and the Media will be of interest to anyone studying fandom but also students and scholars of sociology, media, and gender studies.