Mean Girl Feminism

White feminists performing to maintain privilege Mean girl feminism encourages girls and women to be sassy, sarcastic, and ironic as feminist performance. Yet it coopts its affect, form, and content from racial oppression and protest while aiming meanness toward people in marginalized groups. Kim Hong Nguyen’s feminist media study examines four types of white mean girl feminism prominent in North American popular culture: the bitch, the mean girl, the power couple, and the global mother. White feminists mime the anger, disempowerment, and resistance felt by people of color and other marginalized groups. Their performance allows them to pursue and claim a special place within established power structures, present as intellectually superior, substitute nonpolitical playacting for a politics of solidarity and community, and position themselves as better, more enlightened masters than patriarchy. But, as Nguyen shows, the racialized meanness found across pop culture opens possibilities for building an intersectional feminist politics that rejects performative civility in favor of turning anger into liberation.

From media images of "mean girls" to the disproportionate punishment of Black, Latina and/or queer girls in schools and the justice system, female aggression has become a public concern. Scholars, educators, policymakers and parents are scrambling to respond to the perceived upsurge in girls’ bullying, peer pressure, and aggression/violence. Girls, Aggression and Intersectionality examines how intersecting social identities – such as race, ethnicity, class, sexuality, age, and others - shape media representations of, and criminal justice reactions to, female aggression. The book focuses on three overarching questions: How do race, class, and/or sexuality influence media images of female aggression? How do aggressive girls’ intersecting identities affect law enforcement and criminal justice responses to their aggression? How are diverse groups of girls trying to resist their labelling and criminalization? Using intersectionality as a conceptual framework, this insightful volume deconstructs a unitary analysis of "female aggression" and transforms the mainstream discourse that paints girls as inherently "mean." Girls, Aggression and Intersectionality will appeal to undergraduate and postgraduate students, as well as postdoctoral researchers, interested in fields including Gender Studies, Women’s Studies, Youth Studies, Criminology and Media and Culture.

Case study of the life of a feminist organization in a changing political and funding climate.

Ayn Rand’s complicated notoriety as popular writer, leader of a political and philosophical cult, reviled intellectual, and ostentatious public figure endured beyond her death in 1982. In the twenty-first century, she has been resurrected as a serious reference point for mainstream figures, especially those on the political right from Paul Ryan to Donald Trump. Mean Girlfollows Rand’s trail through the twentieth century from the Russian Revolution to the Cold War and traces her posthumous appeal and the influence of her novels via her cruel, surly, sexy heroes. Outlining the impact of Rand’s philosophy of selfishness, Mean Girl illuminates the Randian shape of our neoliberal, contemporary culture of greed and the dilemmas we face in our political present.

Girls’ Feminist Blogging in a Postfeminist Age explores the practices of U.S.-based teenage girls who actively maintain feminist blogs and participate in the feminist blogosphere as readers, writers, and commenters on platforms including Blogspot, Facebook, Twitter, and Tumblr. Drawing on interviews with bloggers between the ages of fifteen and twenty-one, as well as discursive textual analyses of feminist blogs and social networking postings authored by teenage girls, Keller addresses how these girls use blogging as a practice to articulate contemporary feminisms and craft their own identities as feminists and activists. In this sense, feminist girl bloggers defy hegemonic postfeminist and neoliberal girlhood subjectivities, a finding that Keller uses to complicate both academic and popular assertions that suggest teenage girls are uninterested in feminism. Instead, Keller maintains that these young bloggers employ digital media production to educate their peers about feminism, connect with like-minded activists, write feminist history, and make feminism visible within popular culture, practices that build upon and continue a lengthy tradition of American feminism into the twenty-first century. Girls’ Feminist Bloggers in a Postfeminist Age challenges readers to not only reconsider teenage girls’ online practices as politically and culturally significant, but to better understand their crucial role in a thriving contemporary feminism.

Public awareness of bullying has increased tremendously in recent years, largely through its representation in film, television and novels. In popular media targeted towards young readers and viewers, depictions of bullying can present teachable moments and relatable situations. Written from a variety of perspectives, this collection of new essays offers a broad overview of bullying. The contributors discuss the changing face of bullying in popular media, bullying among females, parents who cyberbully, anti-bullying novels, the phenomenon of a Schadenfreude obsessed culture, and how reality television shapes youth perceptions of what is acceptable aggressiveness.

This volume examines contemporary reformulations of the ‘Final Girl’ in film, TV, literature and comic, expanding the discussion of the trope beyond the slasher subgenre. Focusing specifically on popular texts that emerged in the 21st century, the volume asks: What is the sociocultural context that facilitated the remarkable proliferation of the Final Girls? What kinds of stories are told in these narratives and can they help us make sense of feminism? What are the roles of literature and media in the reconsiderations of Carol J. Clover’s term of thirty years ago and how does this term continue to inform our understanding of popular culture? The contributors to this collection take up these concerns from diverse perspectives and with different answers, notably spanning theories of genre, posthumanism, gender, sexuality and race, as well as audience reception and spectatorship.

DIVFeminist essays examining postfeminism in American and British popular culture./div