"Jane Campion has been a dominant force in world cinema for nearly two decades. Shot delicately in black-and-white, A Girl's Own Story is an early short film that traces the stories of three suburban teenage girls (Pam, Gloria and Stella) in 1960's Australia. It deals with the difficulties of burgeoning sexuality, incest, friendship and family against the backdrop of Beatlemania and an era that valued the isolating notions of purity and wholesomeness over honesty and acceptance."
(Anton de Lonno 11 July 2010, Senses of Cinema)
"Most little girls grow up playing with Barbie dolls. Some even want to look like them. One 21-year-old has become one, or so she says.
Valeria Lukyanova has become an internet sensation in her home country of Russia, claiming on her blog to be the most famed woman on the Russian-language internet.
Her doll-like features, long blonde hair and ‘perfect’ body make her look like a real life Barbie."
(Laura Cox, PUBLISHED: 18:14, 22 April 2012 | UPDATED: 01:40, 25 April 2012, Dailymail.co.uk)
"Peggy Orenstein ('Cinderella Ate My Daughter: Dispatches from the Front Lines of the New Girlie-Girl Culture') and Kaveri Subrahmanyam ('Digital Youth: The Role of Media in Development') had a conversation about girl culture and digital media for Googlers in Santa Monica on February 9, 2011. They were joined by Adriana Manago, who works with Kaveri at the Children's Digital Media Center (UCLA/CSULA)."
(About @Google Talks, 9 February 2011)
Fig.1 Kaveri Subrahmanyam talks to Peggy Orenstein about "Cinderella Ate My Daughter", About @Google Talks [18:24]
"Godard is right at home here, especially following his 80s fare like Passion and First Name: Carmen. In this decade more than ever before, Godard was preoccupied with the fusing of image and sound, in the vein of Renaissance art and music. This means that he's obsessed with the human form, male and female bodies. Historically, this creates something curiously hybrid. While classical opera may have to do with bodies, Godard's style is decidedly closer to that of pre-Classical painting, with uncovered figures posing still in order to be admired or, better, worshiped. Godard's use of male bodies juxtaposing the females here fits nicely into his standard approach to bodies along with everything else: exchange of commodities. The transaction doesn't take place in the segment; the problem is an imbalance of supply with demand, a Marxist cliché that Godard is only too glad to inject into a series of films supposedly just about art and love."
(Zach 'Andrews idea', 29/08/2010)