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This article contends that black feminist conceptions of 'pussy power' have prematurely foreclosed an examination of both pussy and its powers, thereby missing the erotic potential inherent in a 'pussy power' that is distinctly black – what I term black pussy power. Taking Pam Grier's Blaxploitation performances in Coffy (1973) and Foxy Brown (1974) as my primary case studies, I use black pussy power as a conceptual framework through which to read Grier's performances of black eroticism, which enable her to resist racialised gendered sexual subjection and tap into modes of erotic agency otherwise denied to her. Moving away from delimited understandings of pussy as female genitalia or an objectified entity of female sexuality, I mobilise black queer feminist theorisations of the 'arbitrary relation between black sex and gender' to theorise the polymorphous potential of black pussy to signify beyond the narrow gender and sexual grammars currently available to us.1At the same time, black pussy's discursive connection to black feminine sexuality animates the insurgent potential of black pussy power to secure nominal black freedoms in the face of state-sanctioned infringements on black erotic life.

Provider National Youth Advocacy Service Name Digital Life Stories Summary Digital Life Stories project sees young people collaborate to create a video where children in care can share their experiences

Of late, researchers have examined the stereotyping of female politicians in entertainment media as a serious problem in several democratic societies. Despite chauvinism and stereotyping, the entertainment industries find female politicians attractive content producers, which guarantee tangible profit, as audiences are interested in learning about the life stories of female politicians. This article employs feminist political economy of communication to analyse exposé of female politicians in three Bollywood chick flick movies featuring lead characters in important political positions. This study finds that chick flicks—movies centred on attractive female lead characters and typically marketed to women—serve as a mechanism to sell commercial entertainment products to both female and male audiences. I argue that Bollywood's political movies are marketed through a focus on bodily attributes of female politicians that helps perpetuate patriarchal ideology in which women are passive homemakers and effectively domesticated and excluded from public sphere.