https://ogma.newcastle.edu.au/vital/access/ /manager/Index en-au 5 Feminist fire: embodiment and affect in managing conflict in digital feminist spaces https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:42528 Wed 24 Aug 2022 15:57:39 AEST ]]> The best friend, the boyfriend, other girls, hot guys, and creeps: the relational production of self on Tumblr https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:34666 Wed 10 Apr 2019 13:35:11 AEST ]]> Screening women’s trauma: constructing trauma for television in Westworld and The Handmaid’s Tale https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:48922 Tue 25 Jun 2024 15:53:59 AEST ]]> Post-postfeminism?: new feminist visibilities in postfeminist times https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:31609 Sat 24 Mar 2018 08:44:58 AEDT ]]> “Emasculation nation has arrived”: sexism rearticulated in online responses to Lose the Lads’ Mags campaign https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:31611 Sat 24 Mar 2018 08:44:57 AEDT ]]> The currency of images: risk, value and gendered power dynamics in young men's accounts of sexting https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:42257 Fri 19 Aug 2022 14:23:20 AEST ]]> Women's indie television: the intimate feminism of women-centric dramedies https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:46156 Girls debuted in April 2012, it was unlike anything else on television, but today there are echoes of Girls’ indie tendencies and feminist sensibility across the Anglophone television landscape. In retrospect, it is clear that Girls is the flagship series of a recent cycle of women-centric dramedies on US television, which includes (but is not limited to) Transparent, Broad City, Insecure, One Mississippi, Catastrophe, Divorce, Better Things, SMILF and Shrill. These series are inspired by, in conversation with and/or reacting to the aesthetic, generic and/or feminist template established by Girls. This cycle represents the dialogic flow between and across film and television in the convergent era and is enabled by cultural, industrial and political conditions specific to the “peak” television moment. Owing to the centrality of production-based spectacle to both contemporary definitions of cinematic television and popular media feminisms, this cycle is rendered somewhat invisible to both categories. This article argues that the cycle and its series are perhaps best understood in relation to women’s indie cinema, or as a televisual manifestation of women’s indie cinema that could be called women’s indie television.]]> Fri 11 Nov 2022 19:12:48 AEDT ]]>