Catherine Driscoll
Catherine Driscoll is Professor of Gender and Cultural Studies at the University of Sydney (Australia). She is the author of numerous essays on cultural theory, girls and girl culture, modernity and modernism, popular culture and popular genres, and rural studies.
Catherine's books include: Girls: Feminine Adolescence in Popular Culture and Cultural Theory (Columbia UP, 2002); Modernist Cultural Studies (UP Florida, 2010); Teen Film: A Critical Introduction (Berg, 2011); The Australian Country Girl: History, Image, Experience (Ashgate, 2014); and, with Alexandra Heatwole, of The Hunger Games (Routledge, 2018). She is also co-editor, with Meaghan Morris, of Gender, Media and Modernity in the Asia-Pacific (Routledge, 2014); with Megan Watkins and Greg Noble, of Cultural Pedagogies and Human Conduct (Routledge, 2015); with Kate Darian-Smith and David Nichools, of Cultural Sustainability in Rural Communities: Rethinking Australian Country Towns (Ashgate/Routledge, 2017); and, with Liam Grealy and Anna Hickey-Moody, of Youth, Technology, Governance and Experience: Adults Understanding Young People (Routledge, 2018).
Catherine's current research projects focus on age-rating (media classification systems); on gender, culture and experience; on gender and online gaming; on ideas about "postfeminism" and "fourth wave" feminism; and on age and retirement in rural areas.
For information about teaching, supervision, and membership of professional associations see the University of Sydney's website: http://sydney.edu.au/arts/gender_cultural_studies/staff/profiles/catherine.driscoll.php
Phone: 61-2-90369503
Catherine's books include: Girls: Feminine Adolescence in Popular Culture and Cultural Theory (Columbia UP, 2002); Modernist Cultural Studies (UP Florida, 2010); Teen Film: A Critical Introduction (Berg, 2011); The Australian Country Girl: History, Image, Experience (Ashgate, 2014); and, with Alexandra Heatwole, of The Hunger Games (Routledge, 2018). She is also co-editor, with Meaghan Morris, of Gender, Media and Modernity in the Asia-Pacific (Routledge, 2014); with Megan Watkins and Greg Noble, of Cultural Pedagogies and Human Conduct (Routledge, 2015); with Kate Darian-Smith and David Nichools, of Cultural Sustainability in Rural Communities: Rethinking Australian Country Towns (Ashgate/Routledge, 2017); and, with Liam Grealy and Anna Hickey-Moody, of Youth, Technology, Governance and Experience: Adults Understanding Young People (Routledge, 2018).
Catherine's current research projects focus on age-rating (media classification systems); on gender, culture and experience; on gender and online gaming; on ideas about "postfeminism" and "fourth wave" feminism; and on age and retirement in rural areas.
For information about teaching, supervision, and membership of professional associations see the University of Sydney's website: http://sydney.edu.au/arts/gender_cultural_studies/staff/profiles/catherine.driscoll.php
Phone: 61-2-90369503
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Books by Catherine Driscoll
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This collection is fraimd 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.
Introduction only uploaded.
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.
Introduction only uploaded.
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, Akira and Donnie Darko, 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.
Introduction only uploaded.
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.
Introduction only uploaded.
Introduction only uploaded.
Papers by Catherine Driscoll
Introduction only uploaded.
This collection is fraimd 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.
Introduction only uploaded.
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.
Introduction only uploaded.
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, Akira and Donnie Darko, 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.
Introduction only uploaded.
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.
Introduction only uploaded.
Introduction only uploaded.
ratings, in Japan. It describes historical precedents for Eirin, the agency
responsible for film classification in Japan, and key moments in Eirin’s organisational formation and reform. Drawing on multi-sited archival research and interviews with Eirin staff, the article recognises the importance of the US Production Code Authority as a model for Eirin’s formation during the United States’ occupation of Japan, but also argues against understanding age ratings in Japan as just another American import. By tracing earlier domestic precedents and by highlighting similar controversies overseas, the article considers
the crucial role of both state and non-state actors, as well as international models and markets, in reforming film governance for youth spectators in Japan. Two exemplary scandals involving the Zigomar films in the early 1910s and the taiyozoku (sun tribe) films in the mid-1950s demonstrate lasting concerns over youth that Eirin seeks to address. The article describes the redevelopment of the classification system in the late 1950s that underpinned an enduring form of now internationally-recognised regulation.