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Books on the topic 'Youth cinema'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

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

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2

Inquieti: I giovani nel cinema italiano del Duemila. Cantalupa (Torino): Effatà, 2009.

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3

Lee, Christina. Screening Generation X: Politics and popular memory of youth in contemporary cinema. Burlington, VT: Ashgate Pub. Company, 2009.

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4

L'albero spezzato: Cinema e psicoanalisi su infanzia e adolescenza. Firenze: Alinea, 2003.

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5

Minnella, Maurizio Fantoni. Bad boys: Dizionario critico del cinema della ribellione giovanile. Milano: B. Mondadori, 2000.

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6

Mondella, Diego. Sgradevole è bello: Il mondo nel cinema di Todd Solondz. Bologna: Pendragon, 2010.

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7

Sgradevole è bello: Il mondo nel cinema di Todd Solondz. Bologna: Pendragon, 2010.

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8

Gioventù perduta: Gli anni cinquanta dei giovani e del cinema in Italia. Firenze: Giunti, 2004.

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9

Genovart, Gabriel. Infància i cinema en un temps de postguerra. Palma de Mallorca: Lleonard Muntaner, 2007.

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10

Screening Generation X: The politics and popular memory of youth in contemporary cinema. Burlington, VT: Ashgate Pub. Company, 2009.

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11

Lee, Christina. Screening Generation X: The politics and popular memory of youth in contemporary cinema. Burlington, VT: Ashgate Pub. Company, 2009.

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12

Khan, Nifa. A study of the impact of Indian youth culture on Indian cinema in London. London: LCP, 1999.

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13

Ahlawat, Ila. Women and Temporality in Literature and Cinema. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463729741.

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Women and Temporality in Literature and Cinema delves into the subject of literary and cinematic women characters entrapped in temporal spaces and their peculiar communication with visibility, enclosure, space, and time in the context of sexual and temporal discord. It explores subjects such as youth, ageing, remembering, forgetting, and repeating within the larger realm of gendered temporalities that are essentially nuanced and affective experiences. Throughout, this book seeks to locate and spell out the damaging as well as the healing effects of temporality upon women’s consciousness.
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14

Hollywood goes to high school: Cinema, schools, and American culture. New York: Worth Pub., 2005.

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15

Michel, Tremblay. Bambi and me. Burnaby, B.C: Talonbooks, 1998.

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16

Dreaming in Canadian: South Asian youth, Bollywood, and belonging. Vancouver: UBC Press, 2010.

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17

Fantacci, Silvia, ed. Ruggero Jacobbi. Florence: Firenze University Press, 2008. http://dx.doi.org/10.36253/978-88-8453-688-4.

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"Ah, if only I were not so alive and so crowded with things, what a book I would write […] but there's so little time […]. There's lots of time to map them out, that's true, but it's not enough." This is the voice of the protagonist of Convalescenza, one of the stories in this book that – thanks to the painstaking editorial attention of Silvia Fantacci – presents the prose written by Ruggero Jacobbi starting from his precocious youth through to the Sixties. The nine sections, recording fragments of memories, vestiges of mystery and bitter solitude, meander between cinema and theatre, revoke the faces of the war, recall the figures of writers and friends, suggest new approaches to reading. The evocation of Brazil, where Jacobbi spent the most important fifteen years of his life, is not lacking: a country "so big as to drive you crazy" with its magical rites, its rhythm, its culture (the music of Villa-Lobos, Vinícius de Morais and Dorival Caymmi and the poetry of his friend Murilo Mendes). The meticulous notes and the appendix at the end of the book illustrate the history of each text and offer a reconstruction of the projects for novels and stories that were left unfinished and have now finally been transferred from the mind and desk of the writer into book form.
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18

Rasky, Harry. The three Harrys. Oakville, ON: Mosaic Press, 1999.

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19

Films cultes et culte du film chez les jeunes: Penser l'adolescence avec le cine ma. Que bec [Que.]: Les Presses de l'Universite Laval, 2009.

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20

1967-, Shary Timothy, and Seibel Alexandra, eds. Youth culture in global cinema. Austin: University of Texas Press, 2007.

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21

(Editor), Timothy Shary, and Alexandra Seibel (Editor), eds. Youth Culture in Global Cinema. University of Texas Press, 2006.

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22

Youth Culture in Global Cinema. University of Texas Press, 2006.

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23

Screening Youth: Contemporary French and Francophone Cinema. Edinburgh University Press, 2019.

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24

Flavio, Vergerio, and Zappoli Giancarlo, eds. Cinema e adolescenza: Saggi e strumenti. Bergamo: Moretti & Vitali, 2000.

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25

Halloween: Youth Cinema and the Horrors of Growing Up. Taylor & Francis Group, 2019.

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26

Charters, W. W. Motion Pictures and Youth: A Summary (The Literature of Cinema). Arno Pr, 1989.

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27

Generation Multiplex: The Image of Youth in Contemporary American Cinema. University of Texas Press, 2002.

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28

(Foreword), David Considine, ed. Generation Multiplex: The Image of Youth in Contemporary American Cinema. University of Texas Press, 2002.

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29

Francesca, Bisutti, and Borin Fabrizio, eds. Solo i giovani hanno di questi momenti: Racconti di cinema. Venezia: Cafoscarina, 2009.

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30

Solo i giovani hanno di questi momenti: Racconti di cinema. Venezia: Cafoscarina, 2009.

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31

The Revolting Child in Horror Cinema: Youth Rebellion and Queer Spectatorship. Palgrave Macmillan, 2015.

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32

Generation Multiplex: The Image of Youth in American Cinema since 1980. University of Texas Press, 2014.

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33

Lash, Dominic. The Cinema of Disorientation. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474462778.001.0001.

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Perhaps because they are so immediately absorbing, narrative films can also be profoundly confusing and disorienting. This fascinating book neither proposes fool-proof methods for avoiding confusion, nor does it suggest that disorientation is always a virtue. Instead, it argues that the best way to come to terms with our confusion is to look closely at exactly what is confusing us, and why. At the heart of the book are original close readings of four important recent films: David Lynch's INLAND EMPIRE (2006), Leos Carax's Holy Motors (2012), Pedro Costa's Colossal Youth (2006) and Jean-Luc Godard's Adieu au langage (2014). Clearly written but critically and theoretically bold, The Cinema of Disorientation: Inviting Confusions explores both how we get (or fail to get) our bearings with respect to a film, and what we might discover by (and while) doing so.
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34

Young Rebels in Contemporary Chinese Cinema. Hong Kong University Press, 2007.

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35

Minnella, Maurizio Fantoni. Bad boys: Dizionario critico del cinema della ribellione giovanile (Dizionari). B. Mondadori, 2000.

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36

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

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37

Bulman, Robert C. Hollywood Goes to High School: Cinema, Schools, and American Culture. Worth Publishers, 2004.

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38

Xiao, Ying. Chinese Rock ‘n’ Roll Film and Cui Jian on Screen. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0006.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. During the 1980s and 1990s, China experienced an explosion of films for youth, imbued with the aesthetic and ethic of rock ‘n’ roll. This chapter examines a variety of films, from the countercultural to the more mainstream, focusing on the voice, image, persona, and iconography of Cui Jian, and offering an audiovisual perspective on urban youth cinema and Chinese rock. The emergence and development of Chinese rock ‘n’ roll film from the late 1980s to the twenty-first century resulted from widespread, multifaceted transformations in postsocialist China. At the core of this rock imaginary is the aesthetic of cinema vérité and postsocialist realism. In sync with the kaleidoscopic manifestation of the cityscape and long tracking shots of protagonists roaming the metropolis, rock music and the hand-held mobile camera seek to document a reality of postmodern life and capture a feeling of postsocialist anxiety-a concern for realism articulated through dialogue and ambient sound.
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39

Cet enfant de cinéma. Aix-en-Provence: Institut de l'image, 1993.

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40

Stokes, Lisa Odham. Food for Thought: Cannibalism in The Untold Story and Dumplings. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0011.

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Food features prominently in Hong Kong cinema, from the infamous “Eat my rice” scene in Woo’s heroic bloodshed A Better Tomorrow 2 to the special recipes of dueling restaurants in the Hui Brothers’ comedy Chicken and Duck Talk. While in many action movies, dramas and comedies, food brings people together, in Hong Kong horror films, food carries more ominous overtones. Cannibalism serves as the main course in Herman Yau’s Untold Story (aka Human Pork Buns) and Fruit Chan’s Dumplings (the former drawn from a real case and the latter a short and feature). Both explore the political and social underpinnings of their time. Untold Story (1993) is an excellent example of crisis cinema- in your face, low budget, high anxiety over the return of Hong Kong to China. Dumplings (2004) reflects the post-postmodern fascination with a youth culture, at any costs. Both films mark class distinctions and reflect the cultural importance of food in Chinese society as well as provide comment on their times.
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41

Fox, Alistair. Parental Abandonment and the Trauma of Loss: Boy (Taika Waititi, 2010). Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429443.003.0015.

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This chapter examines Taika Waititi’s hit film Boy as evidence of a shift in Māori filmmaking away from the ideals of the “Fourth Cinema” of the 1980s – that is, a purely indigenous type of representation in terms of content and form – to a new kind that is based on an acceptance of cultural hybridity and an awareness of, and receptivity to, global youth culture. In terms of the coming-of-age experience depicted in the film, the discussion links it to that which is shown in Tamahori’s Once Were Warriors, but identifies strategies Waititi adopts to palliate the representation by overlaying it with a comedic approach so as to make the spectator’s experience of the trauma to which the characters are responding more bearable.
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42

Xiao, Ying. China in the Mix. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496812605.001.0001.

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Scarce attention has been paid to the dimension of sound and its essential role in constructing image, culture, and identity in Chinese film and media. China in the Mix fills a critical void with an original, pioneering study of the connections and intersections of film, media, music, and popular culture in contemporary China under postsocialist reform, capitalist globalization, and hybridization. It explores fascinating topics, including appropriations of popular folklore in the Chinese new wave of the 1980s; Chinese rock ’n’ roll and youth cinema in fin de siècle China; the political-economic impact of free market imperatives and Hollywood pictures on Chinese film industry and filmmaking in the late twentieth century; the reception and adaptation of hip hop; and the emerging role of Internet popular culture and social media in the early twenty-first century. This book examines the articulations and representations of mass culture and everyday life, concentrating on their aural/oral manifestations in contemporary Chinese cinema and in a wide spectrum of media and cultural productions. The research offers the first comprehensive investigation of Chinese film, expressions, and culture from a unique, cohesive acoustic angle and through the prism of global media-cultural exchange. It shows how the complex, evolving uses of sound (popular music, voice-over, silence, noise, and audio mixing) in film and media reflect and engage the important cultural and socio-historical shifts in contemporary China and in the increasingly networked world.
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43

Where the Boys Are: Cinemas of Masculinity and Youth (Contemporary Approaches to Film and Television). Wayne State University Press, 2005.

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44

(Editor), Murray Pomerance, and Frances Gateward (Editor), eds. Where The Boys Are: Cinemas Of Masculinity And Youth (Contemporary Approaches to Film and Television). Wayne State University Press, 2005.

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45

Goldmark, Daniel, and Kevin C. Karnes, eds. Korngold and His World. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691198293.001.0001.

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Erich Wolfgang Korngold (1897–1957) was the last compositional prodigy to emerge from the Austro-German tradition of Mozart and Mendelssohn. He was lauded in his youth by everyone from Mahler to Puccini and his auspicious career in the early 1900s spanned chamber music, opera, and musical theater. Today, he is best known for his Hollywood film scores, composed between 1935 and 1947. From his prewar operas in Vienna to his pathbreaking contributions to American film, this book provides a substantial reassessment of Korngold's life and accomplishments. Korngold struggled to reconcile the musical language of his Viennese upbringing with American popular song and cinema, and was forced to adapt to a new life after wartime emigration to Hollywood. The book examines Korngold's operas and film scores, the critical reception of his music, and his place in the milieus of both the Old and New Worlds. It also features numerous historical documents—many previously unpublished and in first-ever English translations—including essays by the composer as well as memoirs by his wife, Luzi Korngold, and his father, the renowned music critic Julius Korngold.
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46

Evans-Powell, David. The Blood on Satan's Claw. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348349.001.0001.

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Widely regarded as one of the foundational 'Unholy Trinity' of folk horror film, The Blood on Satan's Claw (1971) has been comparatively over-shadowed, if not maligned, when compared to Witchfinder General (1968) and The Wicker Man (1973). While those horror bedfellows are now accepted as classics of British cinema, Piers Haggard's film remains undervalued, ironically so, given that it was Haggard who coined the term 'folk horror' in relation to his film. In this Devil's Advocate - the first monograph dedicated solely to an analysis of the film, and released to coincide with the 50th anniversary of the film’s release - David Evans-Powell explores the place of the film in the wider context of the folk horror sub-genre; its use of a seventeenth-century setting (which it shares with contemporaries such as Witchfinder General and Cry of the Banshee) in contrast to the generic nineteenth-century locales of Hammer; the influences of contemporary counter-culture and youth movement on the film; the importance of localism and landscape; the relationship between cultural notions of nature and civilisation; and the film as an expression of a wider contemporary crisis in English identity.
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47

Harvey-Kattou, Liz. Contested Identities in Costa Rica. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620054.001.0001.

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Costa Rica is a country known internationally for its eco-credentials, dazzling coastlines, and reputation as one of the happiest and most peaceful nations on earth. Beneath this façade, however, lies an exclusionary rhetoric of nationalism bound up in the concept of the tico, as many Costa Ricans refer to themselves. Beginning by considering the very idea of national identity and what this constitutes, this book explores the nature of the idealised tico identity, demonstrating the ways in which it has assumed a white supremacist, Central Valley-centric, patriarchal, heteronormative stance based on colonial ideals. Chapters two and three then go on to consider the literature and films produced that stand in opposition to this normative image of who or what is tico and their creation as vehicles of soft power which aim to question social norms. This book explores protest literature from the 1970s by Quince Duncan, Carmen Naranjo, and Alfonso Chase who narrate their experiences from the margins of society by virtue of their identity as Afro-Costa Rican, feminist, and homosexual authors. Cinema from the twenty-first century is then analysed to demonstrate the nuanced and intersectional position chosen by national directors Esteban Ramírez, Paz Fábrega, Jurgen Ureña, and Patricia Velásquez to challenge the dominant nation-image as they reinscribe youth culture, Afro-Costa Rica, a female consciousness, and trans identity into the fabric of the nation.
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48

(Editor), Michael A. Oliker, and Walter P. Krolikowski (Editor), eds. Images of Youth: Popular Culture as Educational Ideology. Peter Lang Pub Inc, 2001.

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49

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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