Hannah Hamad Livres

Best friends share everything. But murder is different. Isn’t it?Keeley and Jude are closer than blood. Inseparable since childhood, they share clothes, secrets, booze – and blame. So when they wake up after a new year’s party to find Keeley’s boyfriend stabbed to death beside them, they agree to share something the story they’ll tell the police. But who is that story really meant to protect? Is Jude risking her bright future to protect her friend? Is there more to sharp-eyed Keeley than she lets on? Or are they conspiring to let Keeley's brother get away with the drugs he's been selling in their small town? As the murder investigation sends ripples through their community, the history of the girls’ claustrophobic relationship comes under scrutiny – and they start to realise they might not, always, have shared as much as they thought. Can their friendship survive sharing everything?

Focusing on representations of fatherhood in popular cinema, this book explores how these portrayals relate to postfeminist culture. It argues that the concept of postfeminist fatherhood has emerged as a new form of hegemonic masculinity, examining the implications of these cultural narratives on contemporary understandings of masculinity and fatherhood. Through critical analysis, it sheds light on the evolving dynamics between gender roles in the context of film and societal expectations.

This book interrogates representations of fatherhood across the spectrum of popular U.S. film of the early twenty-first century. It situates them in relation to postfeminist discourse, identifying and discussing dominant paradigms and tropes that emerge from the tendency of popular cinema to configure ideal masculinity in paternal terms. It analyses postfeminist fatherhood across a range of genres including historical epics, war films, westerns, bromantic comedies, male melodramas, action films, family comedies, and others. It also explores recurring themes and intersections such as the rejuvenation of aging masculinities through fatherhood, the paternalized recuperation of immature adult masculinities, the relationship between fatherhood in film and 9/11 culture, post-racial discourse in representations of fatherhood, and historically located formations of fatherhood. It is the first book length study to explore the relationship between fatherhood and postfeminism in popular cinema.