Motion pictures have been one of the forces that have both shaped and reproduced adolescent femininity. Films not only reflect culture—they help to create it. So it is worth looking at films to see what messages they gave girls—and adults—about what girls were and should be like. Scheiner uses film as a window into the cultural meanings of female adolescence, and explores how those meanings changed over time. She looks at how female adolescence has been constructed in film, focusing on the period from 1920 to 1950. She contextualizes representations of female adolescence by looking at the actual experience of adolescence in each period and by examining the material conditions and film industry processes that contributed to these portrayals. As Scheiner makes clear, historical interpretations of film messages must be expanded to determine what conclusions girls themselves reached from film images. Girls are hardly passive consumers of film. Rather, they choose how to respond to the films they see. This is perhaps best illustrated by fan activities, where girls actively define what is important about films and film stars, and create their own understandings of female adolescence. Scheiner also looks specifically at adolescent girls as fans to decode their responses to filmic representations of adolescence. She uses some nontraditional sources such as fan columns in fan magazines, fan publications of various stars, reviews in young women's literature, fan mail, and letters to film companies to find evidence of audience reception. Scheiner opens up a world often at odds with the actual experience of female adolescents, and she makes clear that films about adolescent girls are not only a formative part of the nation's history in the early 20th century, but a formative part of becoming a girl. Scholars, students, and other researchers of American film and women's studies, popular culture, and 20th-century history will find this study of particular interest.

Motion pictures have been one of the forces that have both shaped and reproduced adolescent femininity. Films not only reflect culture—they help to create it. So it is worth looking at films to see what messages they gave girls—and adults—about what girls were and should be like. Scheiner uses film as a window into the cultural meanings of female adolescence, and explores how those meanings changed over time. She looks at how female adolescence has been constructed in film, focusing on the period from 1920 to 1950. She contextualizes representations of female adolescence by looking at the actual experience of adolescence in each period and by examining the material conditions and film industry processes that contributed to these portrayals. As Scheiner makes clear, historical interpretations of film messages must be expanded to determine what conclusions girls themselves reached from film images. Girls are hardly passive consumers of film. Rather, they choose how to respond to the films they see. This is perhaps best illustrated by fan activities, where girls actively define what is important about films and film stars, and create their own understandings of female adolescence. Scheiner also looks specifically at adolescent girls as fans to decode their responses to filmic representations of adolescence. She uses some nontraditional sources such as fan columns in fan magazines, fan publications of various stars, reviews in young women's literature, fan mail, and letters to film companies to find evidence of audience reception. Scheiner opens up a world often at odds with the actual experience of female adolescents, and she makes clear that films about adolescent girls are not only a formative part of the nation's history in the early 20th century, but a formative part of becoming a girl. Scholars, students, and other researchers of American film and women's studies, popular culture, and 20th-century history will find this study of particular interest.

This work provides scholars, instructors, and students with influential essays that have defined the field of American girls' history and culture. Covering girlhood and the relationships between girls and women, the volume tackles pivotal themes such as education, work, play, sexuality, consumption, and the body.

Teen films of the 1980s were notorious for treating consent as irrelevant, with scenes of boys spying in girls' locker rooms and tricking girls into sex. While contemporary movies now routinely prioritize consent, ensure date rape is no longer a joke, and celebrate girls' desires, sexual consent remains a problematic and often elusive ideal in teen films. In Consent Culture and Teen Films, Michele Meek traces the history of adolescent sexuality in US cinema and examines how several films from the 2000s, including Blockers, To All the Boys I've Loved Before, The Kissing Booth, and Alex Strangelove, take consent into account. Yet, at the same time, Meek reveals that teen films expose how affirmative consent ("yes means yes") fails to protect youth from unwanted and unpleasant sexual encounters. By highlighting ambiguous sexual interactions in teen films—such as girls' failure to obtain consent from boys, queer teens subjected to conversion therapy camps, and youth manipulated into sexual relationships with adults—Meek unravels some of consent's intricacies rather than relying on oversimplification. By exposing affirmative consent in teen films as gendered, heteronormative, and cis-centered, Consent Culture and Teen Films suggests we must continue building a more inclusive consent framework that normalizes youth sexual desire and agency with all its complexities and ambivalences.

This book presents an innovative comparative view of how the issue of adolescent sexuality and consent is differently treated in various media. Analyzing teenage sexual encounters with adults across a variety of media, including films, television, novels, and podcasts, the volume takes a positive stance on the expression of teenage sexuality, while remaining sensitive to the power of adults to abuse and manipulate. The anthology treats these representations as negotiations between conflicting forces: desire, sexual self-knowledge, unequal power, and the law, the latter both actual legal statutes and internalized law in the philosophical and psychoanalytic sense. Questions of unequal power inherent in such relations are theorized. The authors examine variations of this configuration of sexual relations between teenagers and adults from different perspectives, to consider how various forms of expression rework it formally. These essays are attuned to both nuances of presentation and contexts of reception, and they consider how aesthetics play a role. Contributing to the general debate about the ways that societies construct and regulate adolescent sexuality, this book will be of great interest to scholars and students of media studies, cultural studies, film studies, television studies, sociology, and gender studies

In this groundbreaking work, Claude Calame argues that the songs sung by choruses of young girls in ancient Greek poetry are more than literary texts; rather, they functioned as initiatory rituals in Greek cult practices. Using semiotic and anthropologic theory, Calame reconstructs the religious and social institutions surrounding the songs, demonstrating their function in an aesthetic education that permitted the young girls to achieve the stature of womanhood and to be integrated into the adult civic community. This first English edition includes an updated bibliography.

Teenage girls seem to have been discovered by American pop culture in the 1930s. From that time until the present day, they have appeared in books and films, comics and television, as the embodied fantasies and nightmares of youth, women, and sexual maturation. Looking at such figures as Nancy Drew, Judy Graves, Corliss Archer, Gidget, Buffy the Vampire Slayer, and Britney Spears, American Sweethearts shows how popular culture has shaped our view of the adolescent girl as an individual who is simultaneously sexualized and infantilized. While young women have received some positive lessons from these cultural icons, the overwhelming message conveyed by the characters and stories they inhabit stresses the dominance of the father and the teenage girl's otherness, subordination, and ineptitude. As sweet as a cherry lollipop and as tangy as a Sweetart, this book is an entertaining yet thoughtful exploration of the image of the American girl.