Toys Are Us: Feminism, Consumerism and Becoming in Barbie

‘What a Way to Make a Living’: Commodified Identity in Gracie Otto’s Seriously Red

Aspirational Delight: The Bland Fantasies of Renée Webster’s How to Please a Woman

Dry Fidelity: Robert Connolly’s The Dry and Big-screen Crime Adaptation

Mum’s Not the Word: Identity and Autonomy in Curtis Vowell’s Baby Done

‘Are You Not Entertained?’: Maziar Lahooti’s Below and the Morality of Pay-per-view Violence

Dawn of the Dad: Masculinity and Maturity in Abe Forsythe’s Little Monsters

Tearing Out a New Leaf: Book Week and the Unlikeable Protagonist

Dark Dresses, Problematic Pleasures: Mobility and Nostalgia in Bruce Beresford’s Ladies in Black

‘Permission to Operate Independently’: Upgrade and the Body-machines of Action Cinema

What Will You Do with Your OtherLife?: Sci-fi, Subjectivity and Technology

Beautiful Women and No Mirrors: Gillian Armstrong’s Women He’s Undressed

Opposite Ends of the Freeway: Upper Middle Bogan and the Mobility of Class Distinction