This is a paper about trauma and ineloquence, violence and banality, and the utopian conventions of self‐expression in liberal mass society: the U.S. is the scene of the case. The essay pursues relations among the post‐traumatic reparative contexts of the law, religion, therapy and popular culture, all under the sign of autobiography. These domains articulate generic conventions of self‐expressivity with the formalism of self‐reflective liberal personhood. They link norms of expressive denegation to genres that conventionalize, and make false equivalents among, (...) diverse traumatic consequences. When scenes of post‐traumatic ineloquence morph into modes of transformative‐style rhetoric, does the eloquent form distract from, become a mask for, or intensify the unreachable or inarticulable thought that wants to change the norms of negation? A short history of the soundtrack as a site that marks the centrality of ineloquence to traumatic expression condenses the paradox of the moment, where a post‐traumatic desire to become undefensive meets up with pop banality and therapeutic cliche. (shrink)

Audrey Hepburn is one of cinema's most stylish and enduring icons, and has embodied an ideal of femininity for generations of women. Using textual analysis, archival research and audience accounts of ‘Doing the Hepburn Look’, I argue that Audrey Hepburn, as a star clearly addressing a female audience, offered a flexible image which was enabling to young women through dress in relation to exigencies of gender, class and national identity. The paper draws on research conducted as part of a larger (...) project investigating Hepburn's ongoing appeal for young British women from the 1950s to the 1990s. (shrink)