Academic literature on the topic 'Youth cinema'
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Journal articles on the topic "Youth cinema"
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Changsong, Nam Wang, and Rohani Hashim. "How Chinese Youth Cinema Develops? Reviewing Chinese Youth Genre in Mainland China, Taiwan and Hong Kong, 1950s-2000s." GATR Global Journal of Business Social Sciences Review 2, no. 1 (January 13, 2014): 54–67. http://dx.doi.org/10.35609/gjbssr.2014.2.1(7).
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Objective - This study considers Chinese youth cinema as a historical object that represents the gamut of social practices and styles of production. Methodology/Technique - The authors examine the historical development of young people for tracing how different social and historical contexts interpret the Chinese young people's world. Findings - The youth films produced in the major Chinese regions—Mainland China, Taiwan and Hong Kong—illustrate how much social practices dominated the film content and style. For instance, youth genre in Hong Kong, once prevalent in the Cantonese cinema of the mid and late 1960s, blended musical and melodrama by dormant with the rise of martial art films. Novelty - This study attempts to elaborate some films featuring young people in Mainland China, Taiwan and Hong Kong, and to review the histories of youth cinema in these Chinese regions. The Chinese youth film outlines how, in Chinese communities, the category of youth historically functions as a significant site of ideological inscription that displays its struggles towards an idealized future. Type of Paper: Review Keywords : Chinese cinema; Film history; Hong Kong; Mainland China; Taiwan; Youth genre
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Scahill, Andrew. "Youth Culture in Global Cinema (review)." Velvet Light Trap 61, no. 1 (2008): 69–71. http://dx.doi.org/10.1353/vlt.2008.0012.
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Zvegintseva, Irina A. "Australian cinema: transforming youth issues over time." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 100–108. http://dx.doi.org/10.17816/vgik111100-108.
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Long ago, Australian filmmakers discovered that it was the issues of universal interest that could ensure worldwide success of their films. One of such issues was the leftwing youth protests expressing the unwillingness of the young people to live according to the rules of the older generation. These protests peaked in the late 1960s and immediately found their way onto the screen. The importance of the problem ensured an almost inevitable international success of the films which dealt with those events.
Yet there was another reason for the close attention paid by Australian filmmakers to the May 1968 events. Many of them (including the authors of the analyzed films) matured during those tempestuous years. Like many young people in Europe, they were fed up with the hypocrisy and lies of the older generation. They wanted to believe that changes were about to come. What interests the filmmakers of today is not so much the leftist movement itself or the revolt of the young against the society of their fathers but the results which transpired twenty years after the events, following the disillusionment and the shipwreck of youthful hopes. Some found solace in conformism and indifference, others in despair and nihilism.
But luckily the filmmakers saw a third path: that of love and care for the destitute; and, by consequence, that of the belief in the coming changes for the better.
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Nakassis, Constantine V., and Melanie A. Dean. "Desire, Youth, and Realism in Tamil Cinema." Journal of Linguistic Anthropology 17, no. 1 (June 2007): 77–104. http://dx.doi.org/10.1525/jlin.2007.17.1.77.
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Farooq, Gowhar. "Lost spectacle: Media consumption by Kashmiri youth in the absence of cinema halls." Studies in South Asian Film & Media 11, no. 1 (November 1, 2020): 147–61. http://dx.doi.org/10.1386/safm_00025_1.
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Hardline militants forced the cinema halls in Kashmir into closure in 1989. As heavy militarization ensued, several spaces, including cinema halls, were transformed into structures where people, especially young men, were detained and tortured by soldiers and militia. The generations born after the 1980s, therefore, grew up in a cinema-less, militarized world. In the absence of functional cinema halls, they, for years, relied on the state broadcaster for movies and media. Later – although under tremendous threat from extremists – a network of local cable TV operators, who functioned without licences, provided some succour. They were followed by pirate video-cassette and compact-disk parlours that provided people with a means to stay connected to movie culture. And, while the scene changed with the arrival of satellite TV, computers and later the internet, which connected the youth of the region to the larger global media culture, the absence of cinema persists. This article aims to explore how youth, born after the 1980s, associate with cinema halls of Kashmir and what the loss of the cinema viewing culture means to them. To this end, I intend to look into cinema culture before the 1990s and the politics around the closure of cinema halls. The article will also put into perspective the arrival of satellite TV and the circulation of pirated video cassettes, compact disks and videos of the funerals of rebels that were filmed and circulated by rental shops. These practices and processes, which shaped the childhood and youth of several generations in Kashmir, offer insights into the media consumption and the role the state and its apparatuses have in shaping the youth in a conflict-ridden and militarized region of the Global South.
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Zharikova, Vera Vasilyevna. "Crime Teenpic as a Subgenre of American Cinema." Journal of Flm Arts and Film Studies 6, no. 3 (September 15, 2014): 104–13. http://dx.doi.org/10.17816/vgik63104-113.
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The article reviews film genres and the factors determining genre formation as exemplified by the subgenre of youth criminal drama. Like most genres, it appeared in the USA as an offshoot of the gangster film of the 1930s, on the one hand, and as a result of the emergence of youth subculture. The image of an adolescent criminal is still popular in both mass culture and auteur cinema.
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Zharikova, Vera V. "Representation of Youth in Soviet Cinema of the 1950s." Journal of Flm Arts and Film Studies 7, no. 3 (September 15, 2015): 40–49. http://dx.doi.org/10.17816/vgik7340-49.
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The 1950s in the history of our cinema became a transitory stage from the grand style aesthetics to humanistic realism of the Thaw period. One of the most significant traits of this transition was the appearance of young characters on screen (school pupils, students) who were striving to fulfill themselves and find their own way in life. The article analyzes the images of the young people as they were represented in films of that period.
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Macedo, Jane Teixeira do Valle, and Suely dos Santos Silva. "O CINEMA BRASILEIRO E O PROTAGONISMO JUVENIL NA ESCOLA / BRAZILIAN CINEMA AND YOUTH PROTAGONISM AT SCHOOL." Brazilian Journal of Development 6, no. 10 (2020): 79138–50. http://dx.doi.org/10.34117/bjdv6n10-372.
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Killen, Andreas. "Psychiatry, Cinema, and Urban Youth in Early-Twentieth-Century Germany." Harvard Review of Psychiatry 14, no. 1 (January 2006): 38–43. http://dx.doi.org/10.1080/10673220500519672.
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CLAPP, JAMES A. "Growing Up Urban: The City, the Cinema, and American Youth." Journal of Popular Culture 40, no. 4 (August 2007): 601–29. http://dx.doi.org/10.1111/j.1540-5931.2007.00426.x.
Full textDissertations / Theses on the topic "Youth cinema"
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Oliveira, Sandra Cristina Reis Marques de. "Representations of American youth in Hollywood film in the 1980s." Master's thesis, Universidade de Aveiro, 2008. http://hdl.handle.net/10773/2762.
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Mestrado em Estudos InglesesO presente trabalho propõe-se examinar diferentes representações da adolescência no cinema de Hollywood, particularmente na década de 80. Esta dissertação inicia a sua análise debruçando-se sobre as representações da adolescência no cinema de Hollywood, no período após a II Guerra Mundial, numa tentativa de determinar alguns acontecimento que afectaram a forma como essas representações evoluíram até ao final da década de 80. Finalmente, uma reflexão sobre os aspectos mais relevantes das representações da adolescência no cinema na época conservadora de Ronald Reagan. ABSTRACT: This present study aims to examine different representations of American youth in Hollywood film, particularly in the 1980s. This dissertation begins with an examination of some representations of American youth after World War II in an attempt to investigate the trends which affected its representations and how they have evolved from then until the end of the 1980s. Finally, it offers some detailed reflections on depictions of adolescence in Hollywood film during the Reagan years.
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au, x1999@iinet net, and Christina Lee. "Beyond the Pink:(Post) Youth Iconography in Cinema." Murdoch University, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050930.124547.
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Beyond the Pink: (Post) Youth Iconography in Cinema is a project in cultural time travel. It cuts up linear cinematic narratives to develop a hop-scotched history of youth, Generation X and (post) youth culture. I focus upon the pleasures, pedagogies and (un)popular politics of a filmic genre that continues to be dismissed as unworthy of intellectual debate. Accelerated culture and the discourse of celebrity have blurred the crisp divisions between fine art and crude commodity, the meaningful and meaningless, and real and fictive, unsettling the binary logic that assigns importance to certain texts and not others. This research project prises open that awkward space between representation and experience.
Analysts require methods and structures through which to manage historical change and textual movement. Through cinema, macro-politics of identity emerge from the micro-politics of the narrative. Prom politics and mallrat musings become imbued with social significance that speak in the literacies available to youth. It grants the ephemerality and liminality of an experience a tactile trace. I select moments of experience for Generation X youth and specific icons Happy Harry Hardon, Molly Ringwald, the Spice Girls, the Bitch, the invisible raver, teen time travellers Marty McFly and Donnie Darko, and the slacker to reveal the archetypes and ideologies that punctuate the cinematic landscape. The tracked figures do not configure a smooth historical arc. It is in the rifts and conflicts of diverse narratives and subjectivities where attention is focused.
This research imperative necessitates the presentation of a series of essays arranged in a tripartite framework. The first section proposes theoretical paradigms for a tethered analysis of filmic texts and Generation X. The second segment explores sites of struggle in public spaces and time. The final section leaves the landscape of post-Generation X to forge the relationship between history, power and youth identity. I particularly focus on the iconography, ideologies and imaginings of young women to lead the discussion of the shifts in the experience and representations of youth. By reinserting women into studies of film, it is imperative to stress that this is not a dissertation in, and of, womens cinema. Rather, it serves as an historical corrective to the filmic database.
The existing literature on youth cinema is disappointing and narrow in its trajectories. Timothy Sharys Generation Multiplex: The Image of Youth in Contemporary American Cinema and Jon Lewis The Road to Romance and Ruin: Teen Films and Youth Culture exemplify the difficulties of capturing the complexities of individual films when they are collated in artificial and stifling categories. At one end of the analytical spectrum is the critique that comes with the caveat of its just another teen movie. Jonathon Bernsteins monograph Pretty in Pink: The Golden Age of Teenage Movies is one such example which derails into acerbic diatribes and intellectual dismissal. The Cinema of Generation X: A Critical Study by Peter Hanson is a more successful project that is interested in the influences that inform a community of filmmakers than arriving at a catalogue of generic themes and narratives. There is an emphasis on the synergy between text, producer and readership.
I continue this relationship explored by Hanson, but further accent the politics of film. The original contribution to knowledge offered by this doctoral thesis is a detailed study of (post) youth popular culture, building into a model for Generation X cinema, activating the interdisciplinary perspectives from film and cultural studies. With its adaptability into diverse media forms, cultural studies paradigms allow navigation through the expansive landscape of popular culture. It traverses beyond simple textual analyses to consider a texts cultural currency. As an important carrier of meaning and sensory memories, cinema allows for alternative accounts that are denied in authorised history. As a unique form with its own visual literacy, screen theory is needed to refine observations. This unique melding of screen and cultural studies underscores the convergent relationship between text, readership, production and politics.
This doctoral thesis activates concepts and methods of generationalism, nationalism, social history and cultural practice. There is a dialogue between the chapters that crosses over text and time. The 1980s of Molly Ringwald shadows the dystopia of Donnie Darko. The celebrity status of the Spice Girls clashes with the frustrated invisibility of the female raver. Douglas Couplands vision of Generation X in 1991 has evolved into Richard Linklaters documentation of post-youth in the new millenium. Leaping between decades through time travel in cinema, I argue that the nostalgic past and projections for the future evoke the preoccupations and anxieties of the present.
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Lee, Christina. "Beyond the pink: (post) youth iconography in cinema." Lee, Christina (2005) Beyond the pink: (post) youth iconography in cinema. PhD thesis, Murdoch University, 2005. http://researchrepository.murdoch.edu.au/151/.
Full textAbstract:
Beyond the Pink: (Post) Youth Iconography in Cinema is a project in cultural time travel. It cuts up linear cinematic narratives to develop a hop-scotched history of youth, Generation X and (post) youth culture. I focus upon the pleasures, pedagogies and (un)popular politics of a filmic genre that continues to be dismissed as unworthy of intellectual debate. Accelerated culture and the discourse of celebrity have blurred the crisp divisions between fine art and crude commodity, the meaningful and meaningless, and real and fictive, unsettling the binary logic that assigns importance to certain texts and not others. This research project prises open that awkward space between representation and experience.
Analysts require methods and structures through which to manage historical change and textual movement. Through cinema, macro-politics of identity emerge from the micro-politics of the narrative. Prom politics and mallrat musings become imbued with social significance that speak in the literacies available to youth. It grants the ephemerality and liminality of an experience a tactile trace. I select moments of experience for Generation X youth and specific icons - Happy Harry Hardon, Molly Ringwald, the Spice Girls, the Bitch, the invisible raver, teen time travellers Marty McFly and Donnie Darko, and the slacker - to reveal the archetypes and ideologies that punctuate the cinematic landscape. The tracked figures do not configure a smooth historical arc. It is in the rifts and conflicts of diverse narratives and subjectivities where attention is focused.
This research imperative necessitates the presentation of a series of essays arranged in a tripartite framework. The first section proposes theoretical paradigms for a tethered analysis of filmic texts and Generation X. The second segment explores sites of struggle in public spaces and time. The final section leaves the landscape of post-Generation X to forge the relationship between history, power and youth identity. I particularly focus on the iconography, ideologies and imaginings of young women to lead the discussion of the shifts in the experience and representations of youth. By reinserting women into studies of film, it is imperative to stress that this is not a dissertation in, and of, women's cinema. Rather, it serves as an historical corrective to the filmic database.
The existing literature on youth cinema is disappointing and narrow in its trajectories. Timothy Shary's Generation Multiplex: The Image of Youth in Contemporary American Cinema and Jon Lewis' The Road to Romance and Ruin: Teen Films and Youth Culture exemplify the difficulties of capturing the complexities of individual films when they are collated in artificial and stifling categories. At one end of the analytical spectrum is the critique that comes with the caveat of 'it's just another teen movie'. Jonathon Bernstein's monograph Pretty in Pink: The Golden Age of Teenage Movies is one such example which derails into acerbic diatribes and intellectual dismissal. The Cinema of Generation X: A Critical Study by Peter Hanson is a more successful project that is interested in the influences that inform a community of filmmakers than arriving at a catalogue of generic themes and narratives. There is an emphasis on the synergy between text, producer and readership.
I continue this relationship explored by Hanson, but further accent the politics of film. The original contribution to knowledge offered by this doctoral thesis is a detailed study of (post) youth popular culture, building into a model for Generation X cinema, activating the interdisciplinary perspectives from film and cultural studies. With its adaptability into diverse media forms, cultural studies paradigms allow navigation through the expansive landscape of popular culture. It traverses beyond simple textual analyses to consider a text's cultural currency. As an important carrier of meaning and sensory memories, cinema allows for alternative accounts that are denied in authorised history. As a unique form with its own visual literacy, screen theory is needed to refine observations. This unique melding of screen and cultural studies underscores the convergent relationship between text, readership, production and politics.
This doctoral thesis activates concepts and methods of generationalism, nationalism, social history and cultural practice. There is a dialogue between the chapters that crosses over text and time. The 1980s of Molly Ringwald shadows the dystopia of Donnie Darko. The celebrity status of the Spice Girls clashes with the frustrated invisibility of the female raver. Douglas Coupland's vision of Generation X in 1991 has evolved into Richard Linklater's documentation of post-youth in the new millenium. Leaping between decades through time travel in cinema, I argue that the nostalgic past and projections for the future evoke the preoccupations and anxieties of the present.
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Lee, Christina H. P. "Beyond the pink : (post) youth iconography in cinema /." Access via Murdoch University Digital Theses Project, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050930.124547.
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Qu, Sheng. "Cinematic History and Multi-Subcultural Analysis: The Representation of Youth Dreams in Chinese Cinema." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405989442.
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Costa, Maria de Oliveira Barra. "Juventude e cinema nos anos 1970: a I Mostra de Juiz de Fora do Cinema Super 8." Universidade Federal de Juiz de Fora (UFJF), 2017. https://repositorio.ufjf.br/jspui/handle/ufjf/4801.
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I Mostra de Juiz de Fora do Cinema Super 8, de 1979, como síntese de um momento de ruptura no país, em que havia: abertura política, que levou ao fim da ditadura civil-militar; nova tecnologia do Super 8 (a indústria cria um equipamento que permite mudança na linguagem cinematográfica); e emergência do jovem como sujeito contestador e, portanto, provocador de mudanças sociais. Foi desenvolvida uma análise dos filmes apresentados no evento e as respectivas influências na construção das narrativas cinematográficas amadoras idealizadas por esses jovens, no final dos anos 1970. A pesquisa bibliográfica compreende estudos sobre memória e arquivo, com autores como Michael Pollak, Andreas Huyssen, Paul Thompson, Pierre Nora, Jacques Le Goff e Verena Alberti. Sobre o movimento superoitista, Flávio Rogério Rocha, John David Beal, P. Dargy e N. Bau foram essenciais. A pesquisa utiliza a metodologia da história oral, e, por meio do depoimento de cinco participantes da mostra, busca reconstituir o clima da época e a relação dos realizadores com o cinema. Tais relatos são complementados pela pesquisa documental, executada em acervos públicos e pessoais, e que se constitui em matérias jornalísticas, documentos da época e os filmes (poucos deles digitalizados atualmente) exibidos durante o evento. Entre os diretores, foi possível perceber que muitos começaram a filmar pela necessidade de expor suas ideias, e o Super 8, mais barato e de fácil manuseio, mostrou-se o formato ideal para tal fim.
The I Mostra de Juiz de Fora do Cinema Super 8, from 1979, as a synthesis of a moment of rupture in the country, where there was: political opening, which led to the end of the civilmilitary dictatorship; new technology from the Super 8 (the industry creates a device that allows to change the cinematographic language); the emergency of the youth as an answering subject and therefore a provocateur of social change. Analysis of the films in the event and the respective influences in the construction of amateur cinematographic narratives idealized by these young people in the late 1970s. The bibliographic research includes studies on memory and archives, with authors such as Michael Pollak, Andreas Huyssen, Paul Thompson, Pierre Nora, Jacques Le Goff and Verena Alberti. On the superoitist movement, Flávio Rogério Rocha, John David Beal, P. Dargy and N. Bau were essential. The research uses oral history methodology, and, through testimonial of five participants of the festival, seeks to reconstitute the climate of the time and the relationship of filmmakers with cinema. These reports are complemented by the documentary research, executed in public and personal collections, and that are constituted in journalistic matters, documents of the time and the films exhibited during the event. Between the directors, it was possible to realize that many of them became to film to expose their ideas, and the Super 8, cheaper and easy handling, proved to be the ideal format for that purpose.
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Bareille, Laurent. "Les représentations du « mauvais garçon » dans le cinéma japonais de 1955 à 2000, ou le questionnement à propos de l’évolution de la société japonaise par ce paradigme." Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30016/document.
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Depuis la fin de la guerre la société japonaise connaît d’importants changements, le cinéma japonais traitant de son époque est on pourrait dire comme d’autres formes d’expressions artistiques un indicateur des mœurs, des fluctuations de la société, par le regard personnel d’un auteur. Nous verrons dans notre développement dans lequel nous nous arrêterons plus spécialement sur des œuvres « clé » comment par le prisme du personnage du « mauvais garçon », la vision d’un artiste, en l’occurrence un cinéaste prend le plus souvent racine dans une réalité sociale et générationnelle ; et dans le cas du Japon si elle est révélatrice ou non d’une « spécificité » japonaise dans le traitement du récit. Nous avons choisi une approche socio-historique pour notre travail, ainsi les deux parties de cette thèse sont divisées de la sorte : Les diverses formes de représentation des différents groupes de sous culture de la jeunesse japonaise, puis L’évocation de personnages écartés du groupe par ostracisme ou par leur propre volonté. Au cours de la première partie nous étudierons les films dits du Taiyôzoku (la tribu du soleil) tirés des écrits d’Ishihara Shintarô. Puis certains films de la nouvelle vague japonaise, la nouvelle vague dite Shôchiku (du studio du même nom). Dans un deuxième temps nous traiterons des films qui mettent en scène des jeunes appartenant aux sous cultures futenzoku (les hippies) et Bôsôzoku (les gangs de motards). Dans la seconde partie, nous analyserons les films d’Oshima Nagisa et Suzuki Seijun ayant pour sujet des « mauvais garçons ». Nous avons ensuite étudié le yakuza eiga (film de gangsters), plus particulièrement Jingi no hakaba de Fukasaku Kinji réalisé en 1965. Nous terminons notre étude avec l’évocation et les analyses de films des années 1990-2000, ceux d'Iwai shunji, Toyada Toshiaki ou encore Kitano TakeshiSince the end of the War, Japanese society has gone through important changes; Japanese cinema dealing with its history is, we could say, as other forms of artistic expression, an indicator of customs, fluctuations in society, through the eyes of an author.We shall see in our development, in which we will focus in particular on «key» works, how, by the means of the «bad boy» character, the vision of an artist, here a film-maker, usually takes root in a social and generational reality, and in the case of Japan, whether it is revealing or not of a specific Japanese narrative process.We have chosen a socio-historical approach to our work, thus the two parts of this thesis can be divided as follows:The various forms of representation of the different groups of Japanese youth sub-culture, and then identifying the characters ruled out by the group, either by ostracism or by their own will.First, we shall study the so-called Taiyôzoku (tribe of the sun) films, based on Ishihara Shintarô’s written works. Next, some Japanese new wave films, notably of Shôchiku genre (from the studio of the same name). Then we shall deal with films featuring young people from Futenzoku (hippies) and Bôsôzoku (biker gangs) sub-cultures.In the second part, we shall study Oshima Nagisa and Suzuki Seijun films profiling «bad boys». To end, we have studied the yakuza eiga (ganster films), in particular Jingi no hakaba (Graveyard of Honor) directed by Fukasaku Kinji in 1965.We conclude our research by reviewing and analysing 1990-2000 films, those of Iwai Shunji, Toyada Toshiaki or Kitano Takeshi
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Chasse, Hilary Marie. "Youth in China: An Analysis of Critical Issues Through Documentary Film." Thesis, Boston College, 2012. http://hdl.handle.net/2345/2969.
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Thesis advisor: Christina KleinThe cultural face of modern China is constantly changing, whether through economic reforms, political campaigns, or social values. The ultimate inheritors and current carriers of this society in flux is the current post socialist, post 1989 youth generation. This paper examines the cultural changes that are occurring in China through six documentary films made in the 21st century that focus on youth and young adults as the representatives of the issues that the directors explore. In two films, the issue of the Single Child Policy will be examined in terms of the social repercussions the policy has created for modern youth, including gender, ethnic, and class inequalities. In the next two films, the economic conditions that have produced millions of migrant examined as it relates to the changing family values in much of China. The last two films explore the consumer culture of today’s modern youth, and how this culture impacts the expressive output of this generation. I conclude through these films that although the youth of today have been irrevocably shaped by these, and other, cultural changes that have occurred during their lifetime, they are still most fundamentally influenced by the traditional values of Chinese culture including relationships, family, and collective expression
Thesis (BA) — Boston College, 2012
Submitted to: Boston College. College of Arts and Sciences
Discipline: International Studies Honors Program
Discipline: International Studies
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Viteck, Cristiano Marlon. "Rebeldia em cena: a juventude transviada no cinema hollywoodiano nas décadas de 1950 e 1960." Universidade Estadual do Oeste do Paraná, 2009. http://tede.unioeste.br:8080/tede/handle/tede/1751.
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The concept of teenager, which during the first half of the 20th century was being discussed in the United States, received importance since 1950, when it was definitely noticed that the adolescence constituted a huge cultural and social phenomenon on the American society. A noticeable characteristic from that generation was the contest of some determined social values. This phenomenon got much bigger during the 1960 s with the counter culture, that took the rebel youth as the main character of its manifestations. The cinema produced by Hollywood also influenced and at the same tame influenced these manifestations. Trough a process called juvenilization of the cinema, the cinematography industry of the United States started to produce a lot of work that were bringing a diversity of representations of the issues related to the youth theme during the 1950 s, and the rebel characteristic of a significant part of those young people was used as an argument for a lot of these films, the same happened during the 1960 s during the XXX. Trough the analyses of the movies The Wild One (1954), Rebel Without a Cause (1955) and Easy Rider (1969), we intend to comprehend the social imaginary and the behavior of some determined youth groups of the 1950 s and 1960 s, as well as highlight important elements of the American society from the times they were being contested.
O conceito de adolescente, que durante toda a primeira metade do século XX vinha sendo discutido nos Estados Unidos, ganhou em importância a partir dos anos 1950, quando se percebeu definitivamente que a adolescência se constituía em um amplo fenômeno cultural e social da sociedade estadunidense. Característica marcante daquela geração era a contestação a determinados valores da sociedade. Esse fenômeno ampliou-se ainda mais durante os anos 1960 com a contracultura, que teve a juventude rebelde como a principal protagonista de suas manifestações. O cinema produzido por Hollywood também acabou influenciado e ao mesmo tempo influenciou essas manifestações. Através de um processo denominado de juvenilização do cinema, a indústria cinematográfica dos Estados Unidos passou a produzir diversas obras que traziam as mais diversas representações das questões ligadas ao tema da juventude durante a década de 1950, sendo que a rebeldia característica de parte significativa daqueles jovens serviu de argumento para muitos desses filmes, o mesmo acontecendo durante a década de 1960 durante a contracultura. Através da análise dos filmes O Selvagem (1954), Juventude Transviada (1955) e Easy Rider Sem Destino (1969), pretende-se compreender o imaginário social e os comportamentos de determinados grupos de jovens das décadas de 1950 e 1960, bem como destacar elementos importantes da sociedade estadunidense da época que estavam sendo contestados.
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Nóbrega, Thais Zonta de. "Imaginários juvenis: cinema, recepção, mediações e consumo cultural." Pontifícia Universidade Católica de São Paulo, 2015. http://tede2.pucsp.br/handle/handle/2521.
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This investigation have as principal object the reflection through filmic narratives and receivers narratives about the imaginary of today's youth, the 2010s, comparing it with readings of other times, for example, the 1960s and the 1980s, that is, comparing different generational moments. The questions that guide the research are: how movies Somos tão Jovens (2011) and Confissões de Adolescentes (2013) conceive youth? Moreover, how the young receivers equate their own narratives based on film and on their experiences of everyday life? The methodology consists of the study of cinematographic reception, of reading the filmic narratives, cinema as mediation, and of mediations situational, media and generational. The generational mediation sews the dissertation as a whole, especially in view of the comparison between the two filmic narratives analyzed, Somos tão jovens and Confissões de Adolescentes, which are in different generational times. Briefly, the theoretical and methodological foundations that inspired this dissertation consist of reflections on mass culture and imaginary (Edgar Morin), of Latin-Americans Cultural Studies, of the great methodological key Jesús Martín-Barbero, mediation, and of the British Cultural Studies, especially Raymond Williams, emphasizing the reading of uses, and putting in relief the appropriation forms, contemplated in the study of reception. The dissertation divides into three chapters. The first present a general picture of Brazilian cinema and youth debate; more than that, about how the youth has been designed by cinema in recent decades. The second chapter will cover some of the pictures of youth made possible by reading the movies. The third chapter focuses primarily on the receivers narratives and young people themselves narratives of your condition projected on the screen
Esta dissertação tem como objetivo central a reflexão por meio de narrativas fílmicas e de narrativas dos receptores sobre o imaginário acerca da juventude atual, da década de 2010, comparando-a com leituras de outros momentos como, por exemplo, a da década de 1960 e a da década de 1980, ou seja, comparando diferentes momentos geracionais. As perguntas que norteiam a pesquisa são: como os filmes Somos tão Jovens (2011) e Confissões de Adolescentes (2013) concebem juventude? E, como os jovens receptores equacionam suas próprias narrativas baseadas no filme e em suas experiências de vida cotidiana? A metodologia é composta pelo estudo de recepção cinematográfica, pela leitura das narrativas fílmicas, o cinema como mediação, e pelas mediações situacionais, midiáticas e geracional, sendo, esta última, a mediação que irá costurar o trabalho como um todo, principalmente, tendo em vista a comparação das duas narrativas fílmicas abordadas, Somos tão jovens e Confissões de Adolescentes, que se passam em momentos geracionais distintos. De maneira resumida, os fundamentos teóricos e metodológicos que inspiraram esta dissertação transitam das reflexões sobre cultura de massa e imaginário, de Edgar Morin, aos Estudos Culturais Latino-americanos e à grande chave metodológica de Jesús Martín-Barbero, a mediação, passando pelos Estudos Culturais Ingleses, em especial Raymond Willians, com destaque para a leitura dos usos, ou seja, colocando em relevo as formas de apropriação, contempladas no estudo de recepção. A dissertação divide-se em três capítulos. O primeiro apresentará um cenário geral do cinema brasileiro e do debate sobre juventude; mais do que isso, sobre como a juventude vem sendo pensada pelo cinema nas últimas décadas. O segundo capítulo abrangerá algumas das imagens de juventude possibilitadas pela leitura dos filmes. E o terceiro capítulo tem como foco principal a narrativa dos receptores e dos próprios jovens sobre sua condição projetada na tela
Books on the topic "Youth cinema"
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The cinema of adolescence. Jefferson, N.C: McFarland, 1985.
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Inquieti: I giovani nel cinema italiano del Duemila. Cantalupa (Torino): Effatà, 2009.
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Lee, Christina. Screening Generation X: Politics and popular memory of youth in contemporary cinema. Burlington, VT: Ashgate Pub. Company, 2009.
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L'albero spezzato: Cinema e psicoanalisi su infanzia e adolescenza. Firenze: Alinea, 2003.
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Minnella, Maurizio Fantoni. Bad boys: Dizionario critico del cinema della ribellione giovanile. Milano: B. Mondadori, 2000.
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Mondella, Diego. Sgradevole è bello: Il mondo nel cinema di Todd Solondz. Bologna: Pendragon, 2010.
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Sgradevole è bello: Il mondo nel cinema di Todd Solondz. Bologna: Pendragon, 2010.
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Gioventù perduta: Gli anni cinquanta dei giovani e del cinema in Italia. Firenze: Giunti, 2004.
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Genovart, Gabriel. Infància i cinema en un temps de postguerra. Palma de Mallorca: Lleonard Muntaner, 2007.
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Screening Generation X: The politics and popular memory of youth in contemporary cinema. Burlington, VT: Ashgate Pub. Company, 2009.
Find full textBook chapters on the topic "Youth cinema"
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Abidi, Shuby. "Cinema and Youth." In Premchand on Culture and Education, 109–10. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003242260-36.
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Grist, Leighton. "Exploitation Cinema and the Youth Market: Boxcar Bertha." In The Films of Martin Scorsese, 1963–77, 43–60. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230286146_4.
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Mahlerwein, Gunter. "Alternative Cinema in the Youth Centre Movement in Germany in the 1970s and 1980s." In Cinema Beyond the City, 181–93. London: British Film Institute, 2017. http://dx.doi.org/10.1057/978-1-84457-848-1_12.
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Berghahn, Daniela. "Coming of Age in ‘the Hood’: The Diasporic Youth Film and Questions of Genre." In European Cinema in Motion, 235–55. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230295070_12.
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Podalsky, Laura. "Alien/Nation: Contemporary Youth in Film." In The Politics of Affect and Emotion in Contemporary Latin American Cinema, 101–23. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230120112_5.
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Sicondolfo, Claudia. "“Filleing” the Cinema Gap: The Precarity of Toronto’s Necessary Emerging Network of Feminist Film Critics." In Youth Mediations and Affective Relations, 175–95. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-98971-6_11.
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Kellner, Douglas. "Modes of Youth Exploitation in the Cinema of Larry Clark." In Hollywood’s Exploited, 153–69. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230117426_10.
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Williams, Michael. "‘Draw Me like a Statue’: Youth, Nostalgia and the Queer Past in Gods and Monsters." In Cross Generational Relationships and Cinema, 141–66. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40064-4_8.
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Padva, Gilad. "Reinventing Lesbian Youth in Su Friedrich’s Cinematic Autoqueerography Hide and Seek." In Queer Nostalgia in Cinema and Pop Culture, 123–38. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137266347_7.
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Padva, Gilad. "Claiming Lost Gay Youth, Embracing Femininostalgia: Todd Haynes’s Dottie Gets Spanked and Velvet Goldmine." In Queer Nostalgia in Cinema and Pop Culture, 72–97. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137266347_5.
Full textConference papers on the topic "Youth cinema"
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David, Ephraim. "Old Age in Cinema: A Reevaluation of Sorrentino’s Youth." In International Conference on New Trends in Social Sciences. Acavent, 2019. http://dx.doi.org/10.33422/ntss.2019.08.489.
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