US Youth Films and Popular Music: Identity, Genre, and Musical Agency

Introduction: Youth Films, Identity, and Musical Agency

Part I: She’s a Rebel?: Girls, Guitars, and Agency

Introduction

1. The Girl Can’t Have It: Restricted Musical Agency in 10 Things I Hate About You and Love Don’t Cost a Thing

2. Queer Agency and Reappropriation of the \"Technophallus\" in All Over Me

3. Silent Punk and Audible Folk: Musical Sleight-of-Hand in Juno

Part II: Listening to the Other: Cultural Borrowing and Critical Reflection

Introduction

4. Consumption, Authenticity, and Identity Experimentation in Ghost World

5. \"I didn’t move to Bosnia\": Critical Cultural Immersion in Save the Last Dance

6. Cheerleaders, Bullies, and Nerds: Intersections of White Stereotypes and Black Music in Bring it On, Mean Creek, and Napoleon Dynamite

Part III: Unheard Ethnicities: Musical Construction of Ethnic Identity and Agency

Introduction

7. ‘Old World’ Ethnicity, Hybrid Identity, and ‘New World’ Agency in Real Women Have Curves

8. \"Neighbourhood is sure changing, isn’t it?\": Evolving Traditions and Complex Identities in Quinceañera

9. Reimagining the All-American Teenager: Inaudible Ethnicity and Agency from the Margins in Better Luck Tomorrow

Conclusion: The Continuing Relevance of Film Music to Identity and Agency