What makes a film a teen film? And why, when it represents such powerful and enduring ideas about youth and adolescence, is teen film usually viewed as culturally insignificant? Teen film is usually discussed as a representation of the changing American teenager, highlighting the institutions of high school and the nuclear family and experiments in sexual development and identity formation. But not every film featuring these components is a teen film, and not every teen film is American. Arguing that teen film is always a story about becoming a citizen and a subject, "Teen Film" presents a new history of the genre, surveys the existing body of scholarship, and introduces key critical tools for discussing teen film. Surveying a wide range of films including "The Wild One," "Heathers," "Donnie Darko" and "Buffy the Vampire Slayer," the book's central focus is on what kind of adolescence teen film represents, and on teen film's capacity to produce new and influential images of adolescence.

The 2012 film The Hunger Games and its three sequels, appearing quickly over the following three years, represent one of the most successful examples of the contemporary popularity of youth-oriented speculative film and television series. This book considers "The Hunger Games" as an intertextual field centred on this blockbuster film franchise but also encompassing the successful novels that preceded them and the merchandised imagery and the critical and fan discourse that surrounds them. It explores the place of The Hunger Games in the history of youth-oriented cinema; in the history of speculative fiction centred on adolescents; in a network of continually evolving and tightly connected popular genres; and in the popular history of changing ideas about girlhood from which a successful action hero like Katniss Everdeen could emerge.

The Australian Country Girl: History, Image, Experience offers a detailed analysis of the experience and the image of Australian country girlhood. In Australia, 'country girl' names a field of experiences and life-stories by girls and women who have grown up outside of the demographically dominant urban centres. But it also names a set of ideas about Australia that is surprisingly consistent across the long twentieth century despite also working as an index of changing times. For a long period in Australian history, well before Federation and long after it, public and popular culture openly equated 'Australian character' with rural life. This image of Australian-ness sometimes went by the name of the 'bush man', now a staple of Australian history. This has been counterbalanced post World War II and increased immigration, by an image of sophisticated Australian modernity located in multicultural cities. These images of Australia balance rather than contradict one another in many ways and the more cosmopolitan image of Australia is often in dialogue with that preceding image of 'the bush'. This book does not offer a corrective to the story of Australian national identity but rather a fresh perspective on this history and a new focus on the ever-changing experience of Australian rural life. It argues that the country girl has not only been a long-standing counterpart to the Australian bush man she has, more importantly, figured as a point of dialogue between the country and the city for popular culture and for public sphere narratives about Australian society and identity.

There has been a recent expansion of interest in cultural approaches to rural communities and to the economic and social situation of rurality more broadly. This interest has been particularly prominent in Australia in recent years, spurring the emergence of an interdisciplinary field called 'rural cultural studies'. This collection is framed by a large interdisciplinary research project that is part of that emergence, particularly focused on what the idea of 'cultural sustainability' might mean for understanding experiences of growth, decline, change and heritage in small Australian country towns. However, it extends beyond the initial parameters of that research, bringing together a range of senior and emerging Australian researchers who offer diverse approaches to rural culture. The essays collected here explore the diverse forms that rural cultural studies might take and how these intersect with other disciplinary approaches, offering a uniquely diverse but also careful account of life in country Australia. Yet, in its emphasis on the simultaneous specificity and cross-cultural recognisability of rural communities, this book also outlines a field of inquiry and a set of critical strategies that are more broadly applicable to thinking about the "rural" in the early twenty-first century. This book will be valuable reading for students and academics of Geography, History, Literary Studies, Cultural Studies, Anthropology and Sociology, introducing rural cultural studies as a new dynamic and integrative discipline.

There has been a recent expansion of interest in cultural approaches to rural communities and to the economic and social situation of rurality more broadly. This interest has been particularly prominent in Australia in recent years, spurring the emergence of an interdisciplinary field called 'rural cultural studies'. This collection is framed by a large interdisciplinary research project that is part of that emergence, particularly focused on what the idea of 'cultural sustainability' might mean for understanding experiences of growth, decline, change and heritage in small Australian country towns. However, it extends beyond the initial parameters of that research, bringing together a range of senior and emerging Australian researchers who offer diverse approaches to rural culture. The essays collected here explore the diverse forms that rural cultural studies might take and how these intersect with other disciplinary approaches, offering a uniquely diverse but also careful account of life in country Australia. Yet, in its emphasis on the simultaneous specificity and cross-cultural recognisability of rural communities, this book also outlines a field of inquiry and a set of critical strategies that are more broadly applicable to thinking about the "rural" in the early twenty-first century. This book will be valuable reading for students and academics of Geography, History, Literary Studies, Cultural Studies, Anthropology and Sociology, introducing rural cultural studies as a new dynamic and integrative discipline.

Pedagogy is often glossed as the 'art and science of teaching' but this focus typically ties it to the instructional practices of formalised schooling. Like the emerging work on 'public pedagogies', the notion of cultural pedagogies signals the importance of the pedagogic in realms other than institutionalised education, but goes beyond the notion of public pedagogies in two ways: it includes spaces which are not so public, and it includes an emphasis on material and non-human actors. This collection foregrounds this broader understanding of pedagogy by framing enquiry through a series of questions and across a range of settings. How, for example, are the processes of 'teaching' and 'learning' realised within and across the pedagogic processes specific to various social sites? What ensembles of people, things and practices are brought together in specific institutional and everyday settings to accomplish these processes? This collection brings together researchers whose work across the interdisciplinary nexus of cultural studies, sociology, media studies, education and museology offers significant insights into these 'cultural pedagogies' - the practices and relations through which cumulative changes in how we act, feel and think occur. Cultural Pedagogies and Human Conduct opens up debate across disciplines, theoretical perspectives and empirical foci to explore both what is pedagogical about culture and what is cultural about pedagogy.

The Australian Country Girl: History, Image, Experience offers a detailed analysis of the experience and the image of Australian country girlhood. In Australia, 'country girl' names a field of experiences and life-stories by girls and women who have grown up outside of the demographically dominant urban centres. But it also names a set of ideas about Australia that is surprisingly consistent across the long twentieth century despite also working as an index of changing times. For a long period in Australian history, well before Federation and long after it, public and popular culture openly equated 'Australian character' with rural life. This image of Australian-ness sometimes went by the name of the 'bush man', now a staple of Australian history. This has been counterbalanced post World War II and increased immigration, by an image of sophisticated Australian modernity located in multicultural cities. These images of Australia balance rather than contradict one another in many ways and the more cosmopolitan image of Australia is often in dialogue with that preceding image of 'the bush'. This book does not offer a corrective to the story of Australian national identity but rather a fresh perspective on this history and a new focus on the ever-changing experience of Australian rural life. It argues that the country girl has not only been a long-standing counterpart to the Australian bush man she has, more importantly, figured as a point of dialogue between the country and the city for popular culture and for public sphere narratives about Australian society and identity.

To rise to the increasingly urgent challenge of understanding the relationship between human beings and the environment, scholars need to step back and re-evaluate their basic premises about how current explanations should shape the form and content of their research. Against the Grain addresses a variety of topics in the field of human ecology, including ecological anthropology, evolutionary psychology, environmental history, and geography, and challenges scholars to re-think the adequacy of their methods and assumptions. Andrew P. Vayda concludes the volume with a critical commentary on these issues and, more widely, on the subject of explanation. The result is an extremely useful and provocative prZcis for thinking about, re-evaluating, and rectifying scholarly research.

To rise to the increasingly urgent challenge of understanding the relationship between human beings and the environment, scholars need to step back and re-evaluate their basic premises about how current explanations should shape the form and content of their research. Against the Grain addresses a variety of topics in the field of human ecology, including ecological anthropology, evolutionary psychology, environmental history, and geography, and challenges scholars to re-think the adequacy of their methods and assumptions. Andrew P. Vayda concludes the volume with a critical commentary on these issues and, more widely, on the subject of explanation. The result is an extremely useful and provocative precis for thinking about, re-evaluating, and rectifying scholarly research.

This collection offers a range of cultural studies perspectives on the ways gender and modernity intersect in media produced in the Asia-Pacific region. It spans different ideas about modernity in the region, different approaches to cultural analysis, and different media forms: from Taiwanese lifestyle television to avant-garde Indian cinema, from the emergence of a Chinese youth culture in online social networks to the alienation of country girls as imagined by Australian soap opera, and from the fantastic politics of migrating bodies in Korean cinema to the masculine mimicry of fighting women in South-East Asian action movies. Together, these essays explore the ways that media both records and helps produce images and experiences of modernity and the integral role gender plays in those processes. This book was originally published as a special issue of Cultural Studies.

How do adults understand youth? How do their conceptions inform interventions into young lives or involve young people's experiences? This volume tackles these questions by exploring adults' ideas about youth. Specifically, Youth, Technology, Governance, Experience examines the four titular concepts and their implications for a range of relationships between youth and adults. Utilising interdisciplinary methods, the contributing authors deliver a broad range of analyses of young people differentiated by gender, class, race, and geography across an array of contexts, including within the home, in media representations, through government bureaucracies, and in everyday life. Youth, Technology, Governance, Experience also interrogates the meaning of technology and governance for youth studies, considering a range of ways they interact, including through social media, technologies of regulation, and educational tools. It will appeal to students and academic researchers interested in fields such as youth studies, cultural studies, sociology, and education.

How do adults understand youth? How do their conceptions inform interventions into young lives or involve young people's experiences? This volume tackles these questions by exploring adults' ideas about youth. Specifically, Youth, Technology, Governance, Experience examines the four titular concepts and their implications for a range of relationships between youth and adults. Utilising interdisciplinary methods, the contributing authors deliver a broad range of analyses of young people differentiated by gender, class, race, and geography across an array of contexts, including within the home, in media representations, through government bureaucracies, and in everyday life. Youth, Technology, Governance, Experience also interrogates the meaning of technology and governance for youth studies, considering a range of ways they interact, including through social media, technologies of regulation, and educational tools. It will appeal to students and academic researchers interested in fields such as youth studies, cultural studies, sociology, and education.

The 2012 film The Hunger Games and its three sequels, appearing quickly over the following three years, represent one of the most successful examples of the contemporary popularity of youth-oriented speculative film and television series. This book considers "The Hunger Games" as an intertextual field centred on this blockbuster film franchise but also encompassing the successful novels that preceded them and the merchandised imagery and the critical and fan discourse that surrounds them. It explores the place of The Hunger Games in the history of youth-oriented cinema; in the history of speculative fiction centred on adolescents; in a network of continually evolving and tightly connected popular genres; and in the popular history of changing ideas about girlhood from which a successful action hero like Katniss Everdeen could emerge.

Pedagogy is often glossed as the 'art and science of teaching' but this focus typically ties it to the instructional practices of formalised schooling. Like the emerging work on 'public pedagogies', the notion of cultural pedagogies signals the importance of the pedagogic in realms other than institutionalised education, but goes beyond the notion of public pedagogies in two ways: it includes spaces which are not so public, and it includes an emphasis on material and non-human actors. This collection foregrounds this broader understanding of pedagogy by framing enquiry through a series of questions and across a range of settings. How, for example, are the processes of 'teaching' and 'learning' realised within and across the pedagogic processes specific to various social sites? What ensembles of people, things and practices are brought together in specific institutional and everyday settings to accomplish these processes? This collection brings together researchers whose work across the interdisciplinary nexus of cultural studies, sociology, media studies, education and museology offers significant insights into these 'cultural pedagogies' - the practices and relations through which cumulative changes in how we act, feel and think occur. Cultural Pedagogies and Human Conduct opens up debate across disciplines, theoretical perspectives and empirical foci to explore both what is pedagogical about culture and what is cultural about pedagogy.

The Spice Girls, "Tank Girl" comicbooks, Sailor Moon, Courtney Love, Grrl Power: do such things really constitute a unique "girl culture?" Catherine Driscoll begins by identifying a genealogy of "girlhood" or "feminine adolescence," and then argues that both "girls" and "culture" as ideas are too problematic to fulfill any useful role in theorizing about the emergence of feminine adolescence in popular culture. She relates the increasing public visibility of girls in western and westernized cultures to the evolution and expansion of theories about feminine adolescence in fields such as psychoanalysis, sociology, anthropology, history, and politics. Presenting her argument as a Foucauldian genealogy, Driscoll discusses the ways in which young women have been involved in the production and consumption of theories and representations of girls, feminine adolescence, and the "girl market."

What makes a film a teen film? And why, when it represents such powerful and enduring ideas about youth and adolescence, is teen film usually viewed as culturally insignificant? Teen film is usually discussed as a representation of the changing American teenager, highlighting the institutions of high school and the nuclear family and experiments in sexual development and identity formation. But not every film featuring these components is a teen film, and not every teen film is American. Arguing that teen film is always a story about becoming a citizen and a subject, "Teen Film" presents a new history of the genre, surveys the existing body of scholarship, and introduces key critical tools for discussing teen film. Surveying a wide range of films including "The Wild One," "Heathers," "Donnie Darko" and "Buffy the Vampire Slayer," the book's central focus is on what kind of adolescence teen film represents, and on teen film's capacity to produce new and influential images of adolescence.

"A timely reassessment of the fraught relationship cultural studies has had with the term 'modernism' amounting to a reevaluation of the place that both can occupy in discussions of cultural modernity, resting on a commonality or refrain of innovation, relativity, contingency, critique, and a pluralistic disciplinary methodology."--Peter Childs, University of Gloucestershire For many scholars, cultural studies is viewed as a product of postmodern criticism and as the antithesis of modernism. In this brilliant work, Catherine Driscoll argues persuasively that we must view what we call cultural studies as a direct continuation of the innovations and concerns of modernism and the modernists. In making her case, Driscoll provides a fresh take on arguments--some seemingly unresolvable--that pivot on modernism's desire for novelty. Defining modernity as a critical attitude rather than a time period, she describes the many things these ostensibly different fields of inquiry have in common and reveals why cultural studies must be viewed as a fundamentally modernist project. Casting a wide net across the shared interests of modernism and cultural studies, including cinema, fiction, fashion, art, and popular music, Driscoll explores such themes as love and work, adolescence and everyday life, the significance of the everyday, the popular as a field of power, and the importance of representation to identity and experience in modernity. Catherine Driscoll is chair of gender and cultural studies at the University of Sydney.