After the end of the 1960s women's rights movement, the transition to feminism and women empowerment resulted in a drastic increase in female related violence. As more women be- came aware of the rights previously denied to them, more women began to take a stand against the previous patriarchal structure, giving rise to protests and riots across the nation. This created a cinematic shift from male dominated power groups to tough girl gangs, such as Grease’s "Pink Ladies" and "Charlie's Angels." The girls that ran the community were those that intimidated others through their use of crime and violence. However, as women gained greater power, slowly gaining equality with their male counterparts, the intimidation factor changed from one of tough- ness to one of beauty. The more beautiful a women, the more suitors she had, and thus the more control she had over males. In addition, opposing female’s exerted jealousy of the beautiful, as the beautiful had more control than the average looking. Therefore, presently, the women that run society are those that reflect a vital characteristic that all envied: beauty. As a result of this shift in cultural values during the modern and post-modern film eras, the transition of the coming-of-age genre is reflected through the change in theme from power derived from violence, exhibited in Jack Hill's Switchblade Sisters (1975), to power derived from wealth and appearance, exemplified in Mark Waters' Mean Girls (2004).

Both Jack Hill's and Mark Waters' choice in types of films they make reflect the change in the corning-of-age genre, as they both use specific details and characters in their films to ac- centuate what was going on during each historical period. Jack Hill, an exploitations director, was known for "showcasing violent, female energy" (Waddell 158). He did so through the use of woman dominated characters who reflected a sense of independence, but still enforced the un­ equal barrier between men and women by constantly reflecting, through sexual relationships, the way in which both sexes dominate one another in an attempt to ruin each other 's lives (Waddell 158). He does this in Switchblade Sisters as well many of his other films, including Mondo Key­ hole (1966), Spider Baby (1968), and Swinging Cheerleaders (1974). In doing so, he not only further emphasized the change in female power at the time, but also reflected the ongoing female suppression after rights were gained. On the other hand, Mark Waters, who didn't have to deal with the same issue of female suppression, as females were relatively equally to males during the 21st century, decided to emphasize comedy in his films, providing characters with artificial sub­ stance. Those that had the look and could provide comic relief, served to entertain the public, rather than reflect an underlying issue at the time. This is apparent when Waters states "even when the characters are villainous, I'm always looking for ways I can really relate to them as human beings" (Littger 273). This relation comes in the form of satire, as he does in Mean Girls as well as his other films, such as the House of Yes (1997) and Freaky Friday (2003). His films emphasize "bitchy banter and fierce one upmanship of girls" (Rooney 11) in order to create comedic relief, as he puts an emphasis on girls' manipulation of one another through beauty and catty rivalries. None of the girl fights are serious and pressing, but they serve to entertain the audience, rather than pose an issue of the time. Each director's different choice in issue focus reflects this idea of change in power, which is directly a result of the change in the historical context of the time. This change ultimately reflects the transition of the corning-of-age genre, as the shift in power is cohesive with the jump from modernism to post-modernism.

The mythology of peer acceptance in corning-of-age films is vital in a young girl's jour­ ney from adolescence, as it reflects her final step into the conformity of womanhood. As Maxfield suggests, "it is gaining the love and acceptance of males, peers, teachers, parents, and society at large that signals to girls that development is progressing and that soon the awkward­ ness of feeling unloved, unaccepted, and out of place will be over, and the end of adolescence is in sight" (142). This acceptance serves as a symbol of conformity, thus signaling normality, which indicates the girl has finally grown into the role that society deems her to be. However, throughout time this mythology in the corning-of -age genre is depicted differently, as each era represents its cultural values when reflecting this common aspect. As signified in Switchblade Sisters, "drug use and crime only further cement the attachment of girls to one another" (Maxfield 161) indicating that acceptance is derived from committing a misdemeanor. This is reflected when Maggie (Joanne Nail) skillfully snatches the medallion from rival gang leader, Crabs (Chase Newhart) using her sexual allure and ultimate fighting skills. The theft is her initiation into the Dagger Debs and ultimately gains her standing in the group, reflecting the idea of the time, that power is derived from one's violent capabilities. In contrast, Mean Girls' peer acceptance takes a different standpoint, as it is derived from one's possession of material objects, such as designer clothing, expensive convertibles, and stoic mansions, which ultimately enhance one's appearance. This is evident when Regina (Rachel McAdams) yells, "Get in loser, we're go­ ing shopping!" at Cady (Lindsay Lohan), who is unattractively dressed in a baggy pink polo and jeans. Cady's "plain jane" appearance gives her the title of "loser," as her level of attraction is nonexistent. Furthermore, her awestruck expression as she first enters Regina's home and be­ comes aware of her lavish lifestyle, accompanied with her initial thought of "I used to think there was just fat and skinny, apparently there can be a lot of things wrong with your body" when the girls are picking at their flaws, further emphasizes her inexperience regarding girlhood. Her coming-of-age is reflected only when she obtains peer acceptance, which is through her updated fashion choices in clothing, leading to her newfound confidence and popularity, ultimately allowing her to take over the all-powerful girl group, The Plastics. Only when she conforms to the standards of the Plastics does she gain acceptance and popularity. Both Maggie and Cady gain the acceptance necessary, as Cady goes from "African jungle freak" to the hottest girl in school and Maggie transforms "from independent street girl to commandant of an all-girl gang" (Wad­ dell 159). Their acceptance is derived through different means, one from appearance and the other from criminal activity, exhibiting the social context of the time the films were made and the change in the corning-of-age genre.

One other common myth in the female corning-of-age genre is the idea of sexual and romantic validation as one reaches the maturity that enables them to intrinsically seduce the male object of their desire. Because sexual desire is an integral part of puberty, "all theories of adolescent development give sexuality a central place in negotiating the transition from child to adult" (Maxfield 146). This is again reflected through the cultural context of both films, as each conveys the sexual standpoint of the time period its film belongs to. In Switchblade Sisters, Maggie already has an overriding influence over initial Dagger Deb leader, Lace (Robbie Lee), when Lace's boyfriend, Dominic (Asher Brauner), goes to rape Maggie before she is initiated into the gang. Although Lace never truly knows what went on between Dominic and Maggie, her hunch indirectly transfers power over to Maggie, eventually gaining Maggie greater influence over the group. Thus, the violent act of rape portrays Maggie as the ultimate object of sexual desire and, in essence, serves as the ultimate way for her to gain power by showing a newfound maturity.

Straying away from the idea of violence and putting a further emphasis on beauty, Mean Girls also portrays Cady's success in leaving adolescence as she transforms into a sexually alluring women. As Maxfield states, "the party, which is indicative of an entry into a more formal social world" (149) is where Cady's main transformation of sensuality takes place. The first high school party she attends she arrives as Frankenstein 's bride, an ugly mask that makes the object of her desire, Aaron Samuels (Jonathon Bennett), think she's a freak, alternatively attracting him to the scantily dressed, Regina. However, at the next party, Cady’s outfit resembles that of a sleek black dress, serving as an indicator of her transformation, as she finally is able to win over Aaron due to her newfound allure. Although Maggie's experience resembles one of crime, while Cady's is one of seduction, the discovery of one's sexuality serves as a sign of growing up and finally leaving adolescence. The difference in the two's discovery, however, is what indicates a shift from modernism to post-modernism in the corning-of-age genre.

The climactic point in most corning-of-age genre films is the convention of the ultimate showdown between good and evil, making the protagonist have their final epiphany of who they are at the most traumatic moment in the film. When the Dagger Debs agree to fight off a rival gang with their counterpart boy gang, the Silver Daggers, the leader of the boys and Lace's love interest, Dominic, is killed. During the fight, Lace also loses the baby Dominic impregnated her with, making Maggie realize the next step the gang must take in order to seek vengeance. At the ultimate point of woman empowerment, Maggie segregates her group from the Silver Daggers, giving them the new name, The Jezebels. This not only ensures their independence, but also reflects her corning-of-age, as she realizes that boys are unnecessary for female liberation, as they are able to fight alone. When all the women unite to fight together, they win the battle against Crabs and his gang, reflecting how violence once again serves as a way to gain power, demonstrating the characters' overall loss of innocence and increase in maturity. Cady, on the other hand, has her ultimate showdown when Plastic leader, Regina George, is hit by an oncoming school bus. This not only solidifies Cady's power, but also further signifies Regina's loss of beauty, as she not only gains weight from eating Kalteen bars, but now has to wear a neck and spinal brace in order to heal her injury. Her ultimate downgrade in appearance gives Cady the ultimate power; however, when Cady is blamed for pushing her, she realizes that appearance is not truly the way to seek power. It is her "emerging from hiding to dole out humanity lessons" (Rooney 9) that shows her ultimate indication of true self-worth; rather than deriving her power from her beauty, she realizes she can derive her power from doing good for mankind. This epiphany serves as a way to show that Cady has finally matured, from her initial jungle roots to popular Plastic leader to well-rounded teenage girl. Both epiphanies from both characters stern from where they obtained power in the first place. However, each derivation delineates what was going on in the time period of when each event took place, indicating a shift in the coming-of-age genre from modernism to post-modernism.

Differences in iconography also reflect the shift in the corning-of-age genre, as each op­ position reflects where power derivation comes from. In Switchblade Sisters, the Dagger Debs are known for their tough demeanor; their clothing choices are a pure reflection of this tough­ ness. Their use of black clothing indicates darkness and instigates fear in surrounding people.

Because they wear shades of black, people in their community view them as violent human beings, and thus, let them run society through criminal activity. In contrast, the Plastics are known for their fashionable outfit choices, which mostly exude shades of pink and light pastels. These colors reflect girliness, which further emphasizes their beauty in contrast with the other girls at McKinley High School. Because they are well-dressed, other girls envy and epitomize them, even choosing to copy their style choices at times, showing that the Plastics have the ultimate hierarchy in appearance. This contrast between the Dagger Debs and the Plastics is further solidified through the objects that symbolize their groups: switchblades versus the Burn Book.

As a result of the change in the women's rights movement, the corning-of-age genre came to encompass the current values society held woman to today. This is the reason why the myths, conventions, and iconography of corning-of-age films changed from power initiated by violence to power initiated by wealth and appearance.  The characters' exhibit this change in order to fit the historical context of the time, thus changing film genre in accordance to the shift from modernism to post-modernism.