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Books on the topic 'Adolescentes au cinéma'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2024

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1

Genet, Sophie. Adolescence et cinéma: L'Amérique des années cinquante. Lille: A.N.R.T. Université de Lille III, 1994.

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2

Boero, Davide. Chitarre e lucchetti: Il cinema adolescente da Morandi a Moccia. Recco, Genova: Le mani, 2009.

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3

Maguire, Geoffrey, and Rachel Randall, eds. New Visions of Adolescence in Contemporary Latin American Cinema. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-89381-5.

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4

1946-, Oliker Michael A., and Krolikowski Walter P, eds. Images of youth: Popular culture as educational ideology. New York: P. Lang, 2001.

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5

White, Robb. Deathwatch. Ringwood: Penguin, 1988.

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6

The cinema of adolescence. Jefferson, N.C: McFarland, 1985.

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7

Bande de Filles: Girlhood Identities in Contemporary France. Taylor & Francis Group, 2020.

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8

Smith, Frances. Bande de Filles: Girlhood Identities in Contemporary France. Taylor & Francis Group, 2020.

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9

Smith, Frances. Bande de Filles: Girlhood Identities in Contemporary France. Taylor & Francis Group, 2020.

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10

Smith, Frances. Bande de Filles: Girlhood Identities in Contemporary France. Taylor & Francis Group, 2020.

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11

Smith, Frances. Bande de Filles: Girlhood Identities in Contemporary France. Taylor & Francis Group, 2020.

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12

Bande de Filles: Girlhood Identities in Contemporary France. Taylor & Francis Group, 2023.

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13

Egloff, Karin M. Les Adolescents Dans Le Cinema Francais: Entre Deux Mondes. Edwin Mellen Pr, 2007.

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14

Silverman, Jen. We Play Ourselves: A Novel. Atlantic Books, Limited, 2021.

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15

Silverman, Jen. We Play Ourselves: A Novel. Random House Publishing Group, 2022.

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16

Silverman, Jen. We Play Ourselves: A Novel. Random House Publishing Group, 2021.

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17

Silverman, Jen. We Play Ourselves. Atlantic Books, Limited, 2021.

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18

We Play Ourselves. Atlantic Books, Limited, 2022.

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19

We Play Ourselves: A Novel. Random House, 2021.

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20

Chitarre e lucchetti: Il cinema adolescente da Morandi a Moccia. Recco, Genova: Le mani, 2009.

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21

New Visions of Adolescence in Contemporary Latin American Cinema. Palgrave Macmillan, 2019.

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22

Maguire, Geoffrey, and Rachel Randall. New Visions of Adolescence in Contemporary Latin American Cinema. Palgrave Macmillan, 2018.

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23

Segler-Meßner, Silke, and Isabella von Treskow, eds. Génocide, enfance et adolescence dans la littérature, le dessin et au cinéma. Peter Lang D, 2014. http://dx.doi.org/10.3726/978-3-653-03532-2.

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24

Treskow, Isabella von, and Silke Segler-Meßner. Génocide, Enfance et Adolescence Dans la Littérature, le Dessin et Au Cinéma. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2014.

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25

Treskow, Isabella von, and Silke Segler-Meßner. Génocide, Enfance et Adolescence Dans la Littérature, le Dessin et Au Cinéma. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2014.

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26

Treskow, Isabella von, Silke Segler-Meßner, and Silke Segler-Meßner. Génocide, Enfance et Adolescence Dans la Littérature, le Dessin et Au Cinéma. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2014.

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27

Treskow, Isabella von, and Silke Segler-Meßner. Génocide, Enfance et Adolescence Dans la Littérature, le Dessin et Au Cinéma. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2014.

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28

Perks, Sarah, Isabelle Vanderschelden, and Andy Willis. Studying French Cinema. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781906733162.001.0001.

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Taking a text-led approach, with the emphasis on more recent popular films, Studying French Cinema is directed at non-specialists such as students of French, film studies, and the general reader with an interest in post-war French cinema. Each of the chapters focuses on one or more key films from the ground-breaking films of the nouvelle vague (Les 400 coups, 1959) to contemporary documentary (Etre et avoir, 2002) and puts them into their relevant contexts. Depending on the individual film, these include explorations of childhood, adolescence and coming of age (Les 400 coups, L'Argent de poche); auteur ideology and individual style (the films of Jean-Luc Godard and Agnes Varda); the representation of recent French history (Lacombe Lucien and Au revoir les enfants); transnational production practices (Le Pacte des loups); and popular cinema, comedy and gender issues (e.g. Le Diner de cons). Each film is embedded in its cultural and political context. Together, the historical discussions provide an overview of post-war French history to the present. Useful suggestions are made as to studies of related films, both those discussed within the book and outside.

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29

Genocide, Enfance et Adolescence Dans la Litterature, le Dessin et Au Cinema. Lang Publishing, Incorporated, Peter, 2014.

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30

Clueless: American Youth in The 1990s. Taylor & Francis Group, 2017.

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31

Clueless: American Youth in The 1990s. Taylor & Francis Group, 2017.

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32

Speed, Lesley. Clueless: American Youth in The 1990s. Taylor & Francis Group, 2017.

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33

Speed, Lesley. Clueless. Taylor & Francis Group, 2020.

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34

Clueless: American Youth in The 1990s. Taylor & Francis Group, 2017.

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35

Clueless: American Youth in The 1990s. Taylor & Francis Group, 2017.

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36

Kaklamanidou, Betty. Easy A: The End of the High-School Teen Comedy? Taylor & Francis Group, 2018.

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37

Kaklamanidou, Betty. Easy A. Taylor & Francis Group, 2020.

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38

Kaklamanidou, Betty. Easy A: The End of the High-School Teen Comedy? Taylor & Francis Group, 2018.

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39

Easy A: The End of the High-School Teen Comedy? Routledge, 2018.

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40

Osgerby, Bill. American Pie: The Anatomy of Vulgar Teen Comedy. Taylor & Francis Group, 2019.

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41

Osgerby, Bill. American Pie: The Anatomy of Vulgar Teen Comedy. Taylor & Francis Group, 2019.

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42

Osgerby, Bill. American Pie: The Anatomy of Vulgar Teen Comedy. Taylor & Francis Group, 2019.

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43

Osgerby, Bill. American Pie: The Anatomy of Vulgar Teen Comedy. Taylor & Francis Group, 2019.

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44

Osgerby, Bill. American Pie. Taylor & Francis Group, 2021.

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45

American Pie: The Anatomy of the Vulgar Teen Comedy. Taylor & Francis Group, 2020.

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46

Breakfast Club: Youth Identity and Generational Conflict in the Golden Age of Teen Film. Taylor & Francis Group, 2019.

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47

Breakfast Club: John Hughes, Hollywood, and the Golden Age of the Teen Film. Taylor & Francis Group, 2019.

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48

Breakfast Club: John Hughes, Hollywood, and the Golden Age of the Teen Film. Taylor & Francis Group, 2019.

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49

Clasen, Mathias. A Very Nervous Person's Guide to Horror Movies. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197535899.001.0001.

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Films about chainsaw killers, demonic possession, and ghostly intruders. Screaming audiences with sleepless nights or sweat-drenched nightmares in their immediate future. What’s going on here? Presumably, almost everybody has experience with horror films. Almost everybody has sat through a terrifying motion picture and suffered the aftereffects, such as hypervigilance and sleep disturbances. Some people would even characterize themselves as horror fans. But what about the others—the ones who are curious about horror films, but also very, very nervous about them? This book delves into the science of horror cinema in an attempt to address common concerns about the genre. Why is the jump scare so effective and so dreaded? What are the effects of horror films on mental and physical health? Why do horror films so often cause nightmares? Aren’t horror films immoral . . . and stupid, too? Are horror films bad for children and adolescents? What does the current profusion of horror films say about our society? Should we be concerned? Or can horror films be a force for good—do horror films have health benefits, can they be aesthetically and morally valuable, and might they even have therapeutic psychological and cultural effects? The book addresses these questions in short, readable chapters, peppered with vivid anecdotes and examples and supported by scientific findings. It notes that while horror films can have negative effects, they can also help people confront and manage fear.

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50

US Youth Films and Popular Music: Identity, Genre, and Musical Agency. Taylor & Francis Group, 2017.

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