Abstract

In order to reconsider the ways in which social class is articulated in 1980s postfeminist culture, this article investigates three iconic films starring Molly Ringwald: Sixteen Candles (John Hughes, 1984), The Breakfast Club (Hughes, 1985), and Pretty in Pink (Howard Deutch, 1986).

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 24-44
Launched on MUSE
2010-05-28
Open Access
No
Archive Status
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