2016 Choice Outstanding Academic Title Finalist for 2016 Richard Wall Memorial Award by the Theatre Library Long listed for the 2017 Kraszna-Krausz Best Photography Book Award from the Kraszna-Krausz Foundation Marlene Dietrich, Greta Garbo, and Katharine Hepburn all made lasting impressions with the cinematic cross-dressing they performed onscreen. What few modern viewers realize, however, is that these seemingly daring performances of the 1930s actually came at the tail end of a long wave of gender-bending films that included more than 400 movies featuring women dressed as men. Laura Horak spent a decade scouring film archives worldwide, looking at American films made between 1908 and 1934, and what she discovered could revolutionize our understanding of gender roles in the early twentieth century. Questioning the assumption that cross-dressing women were automatically viewed as transgressive, she finds that these figures were popularly regarded as wholesome and regularly appeared onscreen in the 1910s, thus lending greater respectability to the fledgling film industry. Horak also explores how and why this perception of cross-dressed women began to change in the 1920s and early 1930s, examining how cinema played a pivotal part in the representation of lesbian identity. Girls Will Be Boys excavates a rich history of gender-bending film roles, enabling readers to appreciate the wide array of masculinities that these actresses performed—from sentimental boyhood to rugged virility to gentlemanly refinement. Taking us on a guided tour through a treasure-trove of vintage images, Girls Will Be Boys helps us view the histories of gender, sexuality, and film through fresh eyes.

The incendiary new book about toxic masculinity and misogyny from Clementine Ford, author of the bestselling feminist manifesto, Fight Like A Girl. Boys Will Be Boys answers the question Clementine Ford is most often asked: 'How do I raise my son to respect women?’ With equal parts passion and humour, Ford reveals how patriarchal society is as destructive for men as it is for women, creating a dangerously limited idea of what it is to be a man. She traces the way gender norms creep into the home from early childhood, through popular culture or the division of housework and shines a light on what needs to change for equality to become a reality.

2016 Choice Outstanding Academic Title Finalist for 2016 Richard Wall Memorial Award by the Theatre Library Long listed for the 2017 Kraszna-Krausz Best Photography Book Award from the Kraszna-Krausz Foundation Marlene Dietrich, Greta Garbo, and Katharine Hepburn all made lasting impressions with the cinematic cross-dressing they performed onscreen. What few modern viewers realize, however, is that these seemingly daring performances of the 1930s actually came at the tail end of a long wave of gender-bending films that included more than 400 movies featuring women dressed as men. Laura Horak spent a decade scouring film archives worldwide, looking at American films made between 1908 and 1934, and what she discovered could revolutionize our understanding of gender roles in the early twentieth century. Questioning the assumption that cross-dressing women were automatically viewed as transgressive, she finds that these figures were popularly regarded as wholesome and regularly appeared onscreen in the 1910s, thus lending greater respectability to the fledgling film industry. Horak also explores how and why this perception of cross-dressed women began to change in the 1920s and early 1930s, examining how cinema played a pivotal part in the representation of lesbian identity. Girls Will Be Boys excavates a rich history of gender-bending film roles, enabling readers to appreciate the wide array of masculinities that these actresses performed—from sentimental boyhood to rugged virility to gentlemanly refinement. Taking us on a guided tour through a treasure-trove of vintage images, Girls Will Be Boys helps us view the histories of gender, sexuality, and film through fresh eyes.

For Teens at Play: Girls Will Be Boys, Rebecca's done her homework and it shows! Under the master's watchfull eye, never before have philandering teens been so lovingly and truthfully captured!

"International sex researcher, neuroscientist, and frequent contributor to The Globe and Mail (Toronto) Debra Soh [discusses what she sees as] gender myths in this ... examination of the many facets of gender identity"--

A rhyming extravaganza with just the right amount of cheeky irreverence, this book is sure to delight children with empowering perspectives on what it means to live without limits. What are the limiting thoughts that we have as a male or female about what we can and can't do, simply because of our gender? Some of the limitations are obvious and some are more subtle. The parameters are always shifting so it can be hard to have these kinds of sensitive discussions with children. How do we educate children without creating complexes or introducing so many rules around communication and language that we create distance between each other and opposition between our genders?

The antithesis of the "Dick and Jane" coloring book, Girls Will be Boys Will be Girls is a funny and provocative deconstruction of traditional gender roles. 32 original illustrations with captions like "Calvin, baking is fun and all, but we can make a rad drum set out of these pots and bowls" and "Don't let gender box you in" offer light-hearted, fun ways to deconstruct gender for both children and adults. The coloring book form is a subversive and playful way to examine how perversive stereotypes about gender are in every aspect of our lives, especially the ones that are so ingrained we don't even notice. Girls Will be Boys Will be Girls pokes fun at the tired constraints of gender normativity, and makes it okay to step outside the lines.

What has two fronts, no back, and meets in the middle? A flip book! With Boys Will Be Boys, Girls Will Be Girls, you get two books in one - one for boys and another for girls! Boys Will Be Boys, Girls Will Be Girls combines whimsical illustrations, lyrical writing, and timeless biblical truths that will both engage children and help instill in them from a young age God’s design for the genders.

When Judy Y. Chu first encountered the four-year-old boys we meet in this book, they were experiencing a social initiation into boyhood. They were initially astute in picking up on other peopleOCOs emotions, emotionally present in their relationships, and competent in their navigation of the human social world. However, the boys gradually appeared less perceptive, articulate, and responsive, and became more guarded and subdued in their relationships as they learned to prove that they are boys primarily by showing that they area not agirls.a a a Based on a two-year study of boys aged four to six, a When Boys Become Boys aoffers a new way of thinking about boysOCO development.a Chu finds that behaviors typically viewed as natural for boys reflect an adaptation to culturesathat require boys to be emotionally stoic, competitive, and aggressive if they are to be accepted as real boys.a Yet even as boys begin to reap the social benefits of aligning with norms of masculine behavior, they pay a psychological and relational price for hiding parts of their authentic selves. a a Through documenting boysOCO perceptions of the obstacles they face and the pressures they feel to conform, and showing that their compliance with norms of masculine behavior is neither automatic nor inevitable, this accessible and engaging bookaprovides insightainto ways in which adults can foster boysOCO healthy resistance andahelp them to access a broader range of options for expressing themselves."

No previous collection of criticism has focused on gender in the broad range of children's literature. No previous collection has embraced both children's literature and material culture. Beverly Lyon Clark and Margaret R. Higonnet bring together twenty-two scholars to look closely at the complexities of children's culture. Girls, Boys, Books, Toys asks questions about how the gender symbolism of children's culture is constructed and resisted. What happens when women rewrite (or illustrate) nursery rhymes, adventure stories, and fairy tales told by men? How do the socially scripted plots for boys and girls change through time and across cultures? Have critics been blind to what women write about "masculine" topics? Can animal tales or doll stories displace tired commonplaces about gender, race, and class? Can different critical approaches—new historicism, narratology, or postcolonialism—enable us to gain leverage on the different implications of gender, age, race, and class in our readings of children's books and children's culture?