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Call#: Van Pelt Library JF799 .I62 2006
Owen’s article is optimistic regarding future civic engagement, but often defines this engagement in terms of student political projects, voters looking at government websites, etc. She doesn’t offer much concrete evidence that these online practices translate into actual voting. She does, rather inadvertently, point out an interesting paradox: those users who are currently the most web-savvy are not yet old enough to legally vote. Furthermore, Owen’s article reveals that the Internet may only further engage those already intending to vote. She also rethinks the traditional concept of engagement, which in this case may mean community-building, blogging, etc. as opposed to actual voting.
This article gives useful breakdowns of American populations using the Internet by age, gender and race (although only in the categories “White” and “Black”) – but does not offer any analysis through more nuanced categories or race, class, geographical location, etc.
Wilson, Elizabeth. "Audrey Hepburn: fashion, film, and the 50s." in Women and Film: a Sight and Sound Reader, Eds. Pam Cook and Philip Dodd. Philadelphia: Temple University Press, 1993.
Elizabeth Wilson's piece is mainly a reflection on the admiration and fascination that the author felt for Audrey Hepburn as she was coming of age in the 1950s and 1960s. Wilson expands on this by asking why she felt this for Hepburn, rather than the Marilyn Monroes or Elizabeth Taylors of Hollywood. She traces this back to Hepburn's fashion, particularly as her style reflected her characters. Hepburn was the antithesis to the artificial, confined American domesticity promoted by Hollywood in that era, as evidenced by her aura of European sophistication. The apparel (and attitude) evident in her films, Wilson argues, were the forerunners of a new movement of minimalist and free youth fashion: a revolution, almost.
Transformation was a key theme in many of Hepburn's films, such as the chauffeur's-daughter into society-princess story of Sabrina. Even when these changes are visually represented by upgraded fashion, such as in Sabrina, Wilson holds that there is still an air of freedom surrounding Hepburn: her Givenchy dresses seemed modern, not matronly, and the fact that this actress had the choice of being outfitted by a true Parisian designer was a testament to the power Hepburn's style held over her audiences. Though many of her films may end with Hepburn's free-spirited characters succumbing to "adult life," Wilson contends that Hepburn showed young women of the era that they had more choices than simple domesticity, and created an entire style to prove it.