Download Teen Film: A Critical Introduction by Catherine Driscoll PDF

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By Catherine Driscoll

What makes a movie a youngster movie? And why, whilst it represents such strong and enduring principles approximately adolescence and early life, is youngster movie frequently considered as culturally insignificant? Teen movie is generally mentioned as a illustration of the altering American youngster, highlighting the associations of highschool and the and experiments in sexual improvement and identification formation. yet now not each movie that includes those parts is a young person movie, and never each teenager movie is American. Arguing that youngster movie is usually a narrative approximately changing into a citizen and an issue, Teen Film offers a brand new heritage of the style, surveys the present physique of scholarship, and introduces key severe instruments for discussing youngster movie. Surveying a variety of movies together with The Wild One, Heathers, Donnie Darko and Buffy the Vampire Slayer, the book's relevant concentration is on what sort of early life teenager movie represents, and on teenager film's ability to supply new and influential photos of adolescence.

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And the movies brought young people together to watch spectacular dramatizations of what happened when young people came together. The importance of high school in the 1950s was not 34 • Histories because high school was something new or because of a staggering increase in enrolments. But in a range of countries in the 1950s high school became an expected component of popular representations of cultural and personal development. This shift was driven in places partly by the need to keep ‘kids’ at home so that soldiers could return to vacant jobs, but more widely by the need for training in new kinds of work, including new kinds of citizenship and consumption.

The industrialization of cinema involved the development of coherent film genres as structures for appealing to expectations, producing novelty, and repeating success. Hollywood’s establishment as the premier film industry in the world during the studio era is anything but incidental to a history of teen film. Its dominance in fact grounds the strong association between teen film and Americanness given that Hollywood and teen film emerged at the same time and I have thus allowed Hollywood full sway over this chapter.

The visibility of scandals around Bow contributed to the debates foreshadowing the Code (Lewis 2002: 92–6) and in the production culture of the time there were few ways to exploit her class background. Bow thus exemplifies how the teen star commodity seeks contradictory effects from youth. Flapper films were not only adapted from stories by writers like Fabian, Fitzgerald and Glyn, but interacted with other fields, such as popular music, dance, and cartoons. As partial synonyms for ‘teenager’, terms like flapper and bobbysoxer point to a nexus of adolescence, commodity culture, and governance.

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