A powerful female, pre-adolescent, consumer demographic has emerged in tandem with girls becoming more visible in popular culture since the 1990s. Yet the cultural anxiety that this has caused has received scant academic attention. In Tweenhood, Melanie Kennedy rectifies this and examines mainstream, pre-adolescent girls' films, television programmes and celebrities from 2004 onwards, including A Cinderella Story (2004), Hannah Montana (2006) and Camp Rock (2008). Her book forges a dialogue between post-feminism, film and television, celebrity and most importantly; the figure of the tween. Kennedy examines how these media texts, which are so key to tween culture, address and construct their target audience by helping them to 'choose' an appropriately feminine identity. Tweenhood then, she argues, is transient and a discursive construct whose unpacking highlights the deification of celebrity and femininity within its culture.

Disney Princesses and Tween Identity: The Franchise in Illiberal Hungary examines how tweens in illiberal Hungary construct verbal and visual identities through engagement with Disney princess animations. Presenting and analyzing ethnographic research in the form of interviews with Hungarian tweens around the time of the populist government’s winning the general elections in 2018, Anna Zsubori reveals the importance of social and cultural context in establishing the Disney princess phenomenon as a heterogeneous cultural force. The ambivalent and sometimes even contradictory ideas of identity expressed by the tweens highlight the role that diverse audiences, local negotiations, and dynamic discourses play in the reception of the Disney princess animations. Combining thematic and semiotic textual analyses of the conversations, tweens’ drawings and building blocks, and broader contextual examinations of the sessions with Hungarian children, this book offers original contributions on both theoretical and methodological levels.

The tween is the «new girl on the block» in girlhood studies. Although the study of tween life may have derived from a particular marketing orientation at the end of the twentieth century, it is not limited by it. On the contrary, this collection of essays shows that «tween» is not a simple or unified concept, nor is it limited to a certain class of girls in a few countries. This collection by an international group of authors highlights specific methodologies for working with (and studying) tween-age girls, provides challenges to the presumed innocence of girlhood, and engages in an analysis of marketing in relation to girlhood. In so doing, this book offers a reading on these three or four years in a girl's life that suggests that this period is as fascinating as the teen years, and as generative in its implications for girlhood studies as studies of both younger and adolescent girls.

In the 21st century, films about the lives and experiences of girls and young women have become increasingly visible. Yet, British cinema's engagement with contemporary girlhood has - unlike its Hollywood counterpart - been largely ignored until now. Sarah Hill's Young Women, Girls and Postfeminism in Contemporary British Film provides the first book-length study of how young femininity has been constructed, both in films like the St. Trinians franchise and by critically acclaimed directors like Andrea Arnold, Carol Morley and Lone Scherfig. Hill offers new ways to understand how postfeminism informs British cinema and how it is adapted to fit its specific geographical context. By interrogating UK cinema through this lens, Hill paints a diverse and distinctive portrait of modern femininity and consolidates the important academic links between film, feminist media and girlhood studies.

This book touches various aspects of a tween’s life. It takes the readers through school experiences—teachers, relationships with friends, experiencing bullying, examination pressure, annoying habits of tween boys and girls, their complex emotions and embracing many changes they undergo. Tweenage is the most crucial stage between childhood and adulthood. It is turbulent as well as a fun time of the life, which charters into unknown terrains of friendship, fun and pranks.

This book discusses already established accounts about the sexualization of children through a theoretical and an empirical framework which bring together popular culture, consumption, sexuality, selfhood and childhood. Adopting the view that the debate about the sexualization of childhood is socially constructed, it pushes beyond the dominant preconceptions about ‘the risks of childhood’. Moral judgements about children’s welfare are perhaps nowhere more transient and controversial than when it comes to children’s sexuality, something that has deep historical roots. However, and contrary to recurrent fears and moral panics about the loss of childhood as a result of a tidal wave of a sexualizing culture, this book theorizes the notion of children’s sexualization within the social construction of myths of childhood innocence while also taking into account the extent of young people’s actual engagement with media and technology in contemporary Western societies. It is within such a contextual framework that this book unfolds, bringing together a historical contextualization of childhood, sexuality and pornography with contemporary empirical accounts regarding the ‘presentation of the self’ and self-management.

Our chronic ill health is evidence that history has not emancipated us. Women still cannot recognise or permit their own rage. Micro and macro injustices are woven through our personal narratives, and we wear their imprint on our bodies and minds. This book is an urgent call to arms to identify these feelings and channel them for good. Before they destroy us. What if you aren't depressed? What if you don't have chronic fatigue? What if you are just... angry? What if a lifetime of being told to repress anger, hide it away and fear it, has shown up in your body in a myriad of ways you can't control? As a woman, when was the last time you were allowed to be truly angry? Have you ever? The answer to this, argues Jennifer Cox, is never. Women are never allowed to really express their anger, and it is making us all mad. From toddlerdom when girls are conditioned to be 'good' and not make a fuss, to the sandwich years of midlife when the burden of myriad responsibilities is overwhelming, women's anger is hidden, repressed and toxic. This book will show you where it is hiding and how to let it out.