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Journal articles on the topic 'Youth cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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9

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.

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11

Yassni, Younes. "Youth and the Occupation of Public Space in Moroccan Cinema." Film International 16, no. 4 (December 1, 2018): 28–36. http://dx.doi.org/10.1386/fiin.16.4.28_1.

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12

Richardson, Joshua. "Revolting Youth: Depictions of Young Culture in Japanese Horror Cinema." Film Matters 3, no. 3 (November 1, 2012): 13–17. http://dx.doi.org/10.1386/fm.3.3.13_1.

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Guillory, Shaye. "Budget Sex: The Neglected Perspective of Youth in Contemporary Cinema." Film Matters 9, no. 2 (September 1, 2018): 7–19. http://dx.doi.org/10.1386/fm.9.2.7_1.

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Macedo, Isabel. "Youth and portuguese cinema: the (de)colonisation of the imaginary?" Comunicação e Sociedade 29 (June 27, 2016): 291–309. http://dx.doi.org/10.17231/comsoc.29(2016).2421.

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The narratives constructed and disseminated over various decades about the colonial past have profoundly influenced the relations established between the Portuguese population and ‘immigrants’. The stereotypes conveyed are deeply embedded in the social memory of the Portuguese, influencing intercultural relations. In order to analyse the perceptions of young people about intercultural relations, we conducted focus groups with secondary school students involving the viewing of the film Li ké Terra (2010) and subsequent group discussion. In this article we present the results of the focus groups in articulation with the narrative of the film. The results demonstrate the persistence of certain negative stereotypes concerning the populations descendent from African immigrants, indicating that the memory of the colonial past significantly influences the imaginary and social identity of young people, also contributing to this youth perceiving young black people born in Portugal as immigrants. We argue that documentary and film literacy can play a central role in the reflexive and critical transformation of auto- and hetero-representations of young people, contributing to the decolonisation of the national imaginary.

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Budzik, Justyna Hanna. "Film Education in Cinemas – Determinants and Tendencies." Panoptikum, no. 18 (December 29, 2017): 157–76. http://dx.doi.org/10.26881/pan.2017.18.10.

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The article is an attempt at critical analysis of selected film education programmes addressed at school students by independent and network cinemas. The first part of the article is devoted to a survey of key determinants for Polish film academies’ educational profiles, largely determined by the contents of the Core Curriculum. Subsequently, four case studies are conducted: the New Horizons of Film Education programme operating in the Network of Studio and Local Cinemas, Młodzieżowa Akademia Filmowa [Youth Film Academy] at Amok cinema in Gliwice, the Interdisciplinary Programme of Media Education KinoSzkoła [CinemaSchool] operating at independent cinemas and community culture centres in smaller towns and finally Akademia Filmowa Multikino [Multikino Film Academy]. In her conclusion, the author analyses these cases in the light of current European tendencies in film education, outlined in the document A Framework for Film Education.

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Maina, Giovanna, Federico Zecca, Danielle Hipkins, and Catherine O’Rawe. "From Youth Icon to Scarlet Diva." Film Studies 22, no. 1 (May 1, 2020): 47–64. http://dx.doi.org/10.7227/fs.22.0004.

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This article offers a reconstruction of the birth of Asia Argento’s star image, with specific reference to the Italian context. Through an analysis of the media discourses that circulated around the actress in the early phase of her career (from the end of the 1980s to the 2000s), we can trace the evolution of her star image from enfant prodige of Italian cinema, and youth icon, to that of the ‘anti-star’ who strongly divides public opinion, owing to her unruliness on and off-screen. The article concludes that her pre-existing association with sexual transgression inflected how her behaviour with Harvey Weinstein and Jimmy Bennett was interpreted in the Italian public sphere.

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Hebbar N., Nandini. "The unemployed hero in Indian Tamil cinema: Perspectives on youth, gender and aspiration." Studies in South Asian Film & Media 11, no. 1 (November 1, 2020): 57–69. http://dx.doi.org/10.1386/safm_00019_1.

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In this article, I explore the portrayal of the information technology (IT) boom in Indian Tamil cinema to think through representations of unemployed youth. Three main questions anchor this article: one, what are the ways in which unemployment is problematized? Two, how are depictions of unemployment (and employment) gendered? How do gendered representations of unemployment feed into dominant tropes of language, given the Dravidian orientation of Tamil cinema? Three, how are these crises resolved, and what imaginaries do they present of relationships between men and women? Through a reading of three recent films that directly or indirectly relate to the IT boom, I offer an analysis of the privileging of certain professions, skills and academic disciplines under capitalism, its effects on employment prospects for youth, as well as its gendered implications. I argue that the films assert a subculture of masculinity that represents the subaltern male’s encounter with the globalizing city and its many transformations – most visibly the feminization of labour represented by the IT industry. Refuting the claim that cinema has positively embraced neoliberal subjectivity and celebrates the entrepreneurial spirit of youth, I show that the ‘unemployed hero’ is constructed as a social conscience to highlight the problems of a globalizing world. Though many aspects of late capitalism are productively critiqued through such consciousness-raising, the breakdown of traditional gendered roles appears as a leitmotif, exposing the gendered nature of anxieties accompanying the IT boom. The remaking and consolidation of masculine identity then becomes a way to manage these anxieties.

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Scahill, Andrew. "Fanfic’ing Film." Girlhood Studies 12, no. 1 (March 1, 2019): 114–24. http://dx.doi.org/10.3167/ghs.2019.120110.

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Fairy Tales Film Festival 2018, Calgary Queer Arts Society, Youth Queer Media ProgramFor the study of youth in cinema, we, as scholars, must always remind ourselves that most images we analyze are created by adults representing youth, not by youth representing themselves. As such, they represent an idea of youth—a memory, a trauma, a wish. They are stories these adults tell themselves about what they need youth to be in that moment. Coming out becomes the singular narrative of queer youth, and positions adulthood as a safe and stable destination after escaping the traumatic space of adolescence. The stories in these films provide important moments for adult queers to “feel backward” (2009: 7) as Heather Love says, and to process the pain of a queer childhood. And for young people exploring their sexuality, these stories are essential for at-risk youth who feel hopeless, trapped, or alone.

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19

Hegarty, Kerry. "Youth culture on film: an analysis of post-1968 Mexican cinema." Studies in Hispanic Cinema 4, no. 3 (December 1, 2007): 165–82. http://dx.doi.org/10.1386/shci.4.3.165_1.

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20

Murphy, Caryn. "Generation Multiplex: The Image of Youth in Contemporary American Cinema (review)." Velvet Light Trap 52, no. 1 (2003): 67–70. http://dx.doi.org/10.1353/vlt.2003.0019.

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21

Bahmad, Jamal. "From Casablanca to Casanegra: Neoliberal Globalization and Disaffected Youth in Moroccan Urban Cinema." Middle East Journal of Culture and Communication 6, no. 1 (2013): 15–35. http://dx.doi.org/10.1163/18739865-00503002.

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This article deals with the two major actors in North Africa’s 2011 uprisings—namely, youth and the city—through a critical exploration of the cinematic realism that has defined Moroccan filmmakers’ response to the country’s socioeconomic transformation under neoliberal globalization since the 1980s. Taking Noureddine Lakhmari’s Casanegra (2008) as a case study, I argue that this aesthetic frame discloses the critical potential of everyday life and the ordinary affects of anger and the will to revolt among Casablanca’s youth today. This acclaimed film further allows us to approach Moroccan cinema’s affective realism within an urban landscape in a country that has witnessed the rise of a new historical consciousness of postcolonial youth on and off the screen. The first part of this article looks at the neoliberal Casablanca that emerged in the aftermath of Morocco’s market reforms in the 1980s and how that transformation engendered a new wave of urban cinema a decade later. The second part looks at Casanegra’s affective economy of anger and revolt and the articulation of Moroccan youth’s postcolonial subjectivity.

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22

Byg, Barton. "On the Wannseeheim Youth Center." New German Critique 47, no. 3 (November 1, 2020): 93–98. http://dx.doi.org/10.1215/0094033x-8607619.

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Abstract Presented here for the first time in English translation is one of Harun Farocki’s earliest publications in the journal Filmkritik, of which he later became editor. Composed largely of quotations, Farocki’s text reports on film courses at the Wannseeheim Youth Center, a form of adult and alternative education in Berlin West. The introduction to Farocki’s text connects with the New German Cinema and themes that remained central throughout his own work: collaboration and quotation, Bertolt Brecht’s concept of “learning plays,” using nonfiction to explore both social relations and the cinematic apparatus, and seeing film as a form of “productive thinking.” It represents a kernel of Farocki’s wish to put the tools of filmmaking into the hands of ordinary people, thus revealing both theoretical aspects of the cinematic apparatus itself and the interweaving of visual images with social relations. With a deadpan, whimsical tone, Farocki argues that all this is, or should be, film criticism—in German, Filmkritik.

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RAZLOGOV, KIRILL E., and EVGENIA V. PARKHOMENKO. "METAMORPHOSES OF THE CINEMA CLUB MOVEMENT." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 241–71. http://dx.doi.org/10.30628/1994-9529-2021-17.2-241-271.

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The article is based on the studies by the Department for the Development and Approbation of Film Education Methods (VGIK) in the field of amateur film associations and cinema clubs. The authors profile the history of the Russian film club movement and analyze the significance of such associations for cultural enlightenment and comprehensive education of a personality. Such a survey is included in the international process of the formation of a cinephile community, who in the USSR were called nothing short of “kinomany” (movie addicts). A hundred years of experience of Russian film education, in the forms of both spontaneous amateur one and complex state one, is considered as a source of methods and best practices to be implemented in modern media education. The article also explains the influence of film clubs and their repertoire on the distribution and popularization of cinema works, especially on the so-called festival and “shelved” films, limited in release then and now becoming a battleground between commercial and artistic priorities of the filming process. The text contains stories and descriptions of participants in the film club movement: the founders of associations, curators and critics. Their interviews make it possible to imagine a three-dimensional picture of the life of cinema lovers’ communities. The main milestones in the history of the film club movement in the USSR and in the world are traced: the formation in the 1910s–1920s, the decline in the 1930s–1940s, the revival of the international festival movement abroad after World War II, and in Russia—during the perestroika, the crisis of the 1980s–1990s, the creation of the Cinema Club Federation, attempts to revive the Friends of Soviet Cinema Society, and modern trends related to the film club work in the context of international cooperation, which was initiated by the VI World Festival of Youth and Students. The Soviet experience is studied in correlation not only with the strengthening in Western Europe of such phenomena as film clubs and film lovers’ associations, but also with the formation of specialized art cinemas and the experiment of the cinema club network, which is predicted to play a special role in the post-pandemic era. Among other things, the authors’ attention is focused on the delicate balance, that accompanied the entire history of the film club movement: the balance between initiative of the people, a spontaneous mass movement, and state efforts to organize and structure this process, between the desire for creative freedom and strict censorship of the elite. The authors consider the domestic and foreign cinema club experience as an opportunity to distribute works of the Russian cinema art among the most interested audience and to establish a system of limited cinema club distribution, which would bring originators and the public closer together.

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Centeno Martín, Marcos. "Introduction. The Misleading Discovery of Japanese National Cinema." Arts 7, no. 4 (November 26, 2018): 87. http://dx.doi.org/10.3390/arts7040087.

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The Western ‘discovery’ of Japanese cinema in the 1950s prompted scholars to articulate essentialist visions understanding its singularities as a result of its isolation from the rest of the world and its close links to local aesthetic and philosophical traditions. Recent approaches however, have evidenced the limitations of this paradigm of ‘national cinema’. Higson (1989) opened a critical discussion on the existing consumption, text and production-based approaches to this concept. This article draws on Higson´s contribution and calls into question traditional theorising of Japanese film as a national cinema. Contradictions are illustrated by assessing the other side of the ‘discovery’ of Japanese cinema: certain gendaigeki works that succeeded at the domestic box office while jidaigeki burst into European film festivals. The Taiyōzoku and subsequent Mukokuseki Action films created a new postwar iconography by adapting codes of representation from Hollywood youth and western films. This article does not attempt to deny the uniqueness of this film culture, but rather seeks to highlight the need to reformulate the paradigm of national cinema in the Japanese case, and illustrate the sense in which it was created from outside, failing to recognise its reach transnational intertextuality.

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Bahmad, Jamal. "Insurgent citizenship: Youth, political activism and citizen cinema in post-2011 Morocco." Journal of African Cinemas 11, no. 2 (October 1, 2019): 131–40. http://dx.doi.org/10.1386/jac_00011_1.

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Abstract The uprisings that swept across North Africa and the Middle East in 2011 brought to world attention the revolutionary potential of youth in the face of social injustice and political repression. This article explores how the so-called Arab Spring foregrounded Moroccan youth's alternative conceptions of citizenship and being young in the MENA region today. Using the emergence of citizen cinema as a case study, I will examine the subjective politics of Moroccan youth's alternative to dominant political and social authority. Made, self-produced and distributed online free of charge by a young and self-avowed citizen filmmaker, Nadir Bouhmouch's debut documentary My Makhzen and Me (2012) does not pretend to offer an objective account of Morocco's so-called Arab Spring. Instead, the filmmaker focuses on relating his own personal story as a young upper-class Moroccan student in San Diego, who returned to the country in the summer of 2011 armed with a camera as his weapon in the February 20 Movement's battle for democratic citizenship and social justice in Morocco. In this article, I will show how the subjective point of view structuring this documentary offers a unique perspective not only on Morocco's Arab Spring but also on the impossibility of representing citizenship objectively on the documentary camera. The article ultimately argues that because the personal is always already political in North African documentary filmmaking since 2011, the subjective point of view allows for the emergence of the insurgent citizenship of the region's youth.

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Laura Podalsky. "The Young, the Damned, and the Restless: Youth in Contemporary Mexican Cinema." Framework: The Journal of Cinema and Media 49, no. 1 (2008): 144–60. http://dx.doi.org/10.1353/frm.0.0009.

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Bahmad, Jamal. "Rebels with a cause: youth, globalisation and postcolonial agency in Moroccan cinema." Journal of North African Studies 19, no. 3 (March 31, 2014): 376–89. http://dx.doi.org/10.1080/13629387.2014.897619.

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DeGRAFFENREID, L. J. "What Can You Do in Your Dreams? Slasher Cinema as Youth Empowerment." Journal of Popular Culture 44, no. 5 (September 28, 2011): 954–69. http://dx.doi.org/10.1111/j.1540-5931.2011.00882.x.

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Shary, Timothy. "Introduction." Boyhood Studies 8, no. 2 (September 1, 2015): 1–4. http://dx.doi.org/10.3167/bhs.2015.080201.

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These are ripe times to study boyhood in cinema. Even though male characters have undoubtedly dominated cinema roles from the start, boys’ stories have not been consistently produced or appreciated. Since the publication of Where the Boys Are: Cinemas of Masculinity and Youth, a collection edited by Murray Pomerance and Frances Gateward in 2005, there has been increasing academic interest in boyhood representation through movies, as demonstrated by the articles collected here. This interest follows the expansive concerns of pop psychology texts at the turn of the century that took up the political and emotional consequences of boys’ behavior, such as Real Boys: Rescuing Our Sons from the Myths of Boyhood by William Pollack (1999), Raising Cain: Protecting the Emotional Life of Boys by Dan Kindlon and Michael Thompson (2000), and The War Against Boys: How Misguided Feminism is Harming Our Young Men by Christina Hoff Sommers (2001).As is evident in their titles, this research joined the chorus of a prevailing masculinity in crisis theme that has permeated gender studies in recent years: boys have been troubled by the pressures of patriarchy, the demands of feminism, and the culture of capitalism, and thus are in need of rescue and protection from these influences.

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Dantas Junior, Hamilcar Silveira, Fábio Zoboli, Josineide de Amorim Santos, and Monara Santos Silva. "Pensar o corpo por meio do cinema: uma proposta pedagógica para o Ensino Médio." Revista Educação e Emancipação 11, no. 2 (August 10, 2018): 108. http://dx.doi.org/10.18764/2358-4319.v11n2p108-126.

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Este ensaio parte do princípio de que o cinema é uma manifestação cultural que nos permite o olhar para o mundo e seus corpos e para nós mesmos enquanto corpo, para tanto, entendemos ser necessário estimular seu uso na escola como ferramenta pedagógica em contraponto à lógica corrente. No âmbito do Ensino Médio, com as exigências atuais do ENEM e as propostas dos Parâmetros Curriculares Nacionais, encontramos um espaço fecundo à ampliação desses olhares sobre o corpo e dinamização do processo formativo da juventude. Este ensaio objetiva apresentar as primeiras proposições de uso do cinema no Ensino Médio para ampliar a compreensão sobre o corpo e suas representações na contemporaneidade.Palavras-chave: Corpo. Cinema. Ensino Médio. Thinking the body through cinema: a pedagogical proposal for high schoolABSTRACTThis essay assumes that cinema is a cultural manifestation that allows the observation of the world, the bodies and we as bodies, understanding the necessity of stimulating its use in school as a pedagogical tool in opposition to the current logic. At High School, with the current requirements of the ENEM and the National Curricular Parameters, we found a fruitful space to amplify the observation of the body and the stimulation of the youth formative process of youth. This essay aims to present the first propositions about the use of the cinema at High School to amplify the understanding of the body and its representations in contemporary times.Keywords: Body. Cinema. High School. Pensar el cuerpo a través del cine: una propuesta pedagógica para la enseñanza secundariaRESUMENEste ensayo parte del principio de que el cine es un evento cultural que nos permite mirar hacia el mundo y sus cuerpos y a nosotros mismos en cuanto cuerpo, creemos que es necesario fomentar su uso en la escuela como herramienta pedagógica en contraposición de la lógica actual. En el ámbito de la Enseñanza Secundaria, con los requisitos actuales del ENEM y las propuestas de los Parámetros Curriculares Nacionales, encontramos un espacio fecundo para ampliar estas miradas sobre el cuerpo y para dinamizar el proceso de formación de la juventud. Este ensayo tiene como objetivo presentar las primeras proposiciones para el uso del cine en la Enseñanza Secundaria para ampliar la comprensión acerca del cuerpo y sus representaciones en la contemporaneidad.Palabras clave: Cuerpo. Cine. Enseñanza Secundaria.

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Belinskaya, Elena P., and Ekaterina A. Rudik. "ATTITUDES TO RADICALISM AND PREFERENCES OF FILM GENRES IN YOUTH." RSUH/RGGU Bulletin. Series Psychology. Pedagogics. Education, no. 4 (2020): 41–52. http://dx.doi.org/10.28995/2073-6398-2020-4-41-52.

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The results of an empirical study of the relationship between radical attitudes and consumer preferences in the field of film production in a sample of young people are presented in the article. Attitudes to radicalism were operationalized through indicators on the scales of relative deprivation, social dominance, and authoritarianism. Horror, melodrama, and arthouse films were considered the preferred film genres. One of the stages of the study was an attempt to determine the possibility of organized influence on radical attitudes through viewing movie trailers of preferred and non-preferred genres by respondents. It is shown that initially the choice of genres of melodrama and arthouse cinema is not associated with any of the supposed components of radical attitudes, and the propensity to watch horror films is associated with a low intensity of the behavioral component of radical attitudes. When organizing the impact by watching trailers, it was found that respondents who prefer the genres of melodrama and arthouse cinema are almost not affected by their socio-political attitudes by consuming film products, while the affective component of their radical attitudes increased among fans of horror films, but only if the genre of the viewed trailer coincided with the preferred one. Thus, the results obtained do not allow us to unambiguously assert that there is a relationship between consumer preferences in film genres and radical attitudes in youth. In general, they indicate an extremely vague relationship between aesthetic preferences and attitudes of the sociopolitical spectrum.

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Layne, Priscilla. "Halbstarke and Rowdys: Consumerism, Youth Rebellion, and Gender in the Postwar Cinema of the Two Germanys." Central European History 53, no. 2 (June 2020): 432–52. http://dx.doi.org/10.1017/s0008938920000187.

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ABSTRACTIn the second half of the 1950s, American films about “delinquent youth” took West Germany by storm. Although these films were not screened in East Germany, the still open border between the FRG and GDR allowed young people in both states to see these films. Many adopted American clothing styles and music in both Germanys. Two films, the West German production Die Halbstarken (1956) and the East German production Berlin–Ecke Schönhauser (1957) addressed “delinquent youth” in the German context and became quite popular. The article compares the competing images of femininity in both films, which linked the problem of “delinquent youth” to consumerism, pop culture, and “weak parents,” but portrayed young women very differently. While consumerism in the West German film was in a gender-specific way linked to femininity, the East German film linked consumerism to a class society and displaced it to the West. Contemporary film reviews and press treatment of main actresses reflected these differing attitudes toward gender and consumption.

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Kuzina, N. "The Ideology of Violence in Culture and the Preconditions of Susceptibility to Violence in the Arts of Youth and Adolescents (Article 2)." Bulletin of Science and Practice 6, no. 11 (November 15, 2020): 367–84. http://dx.doi.org/10.33619/2414-2948/60/46.

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The paper analyzes methods of building the ideology of violence and precedents of using the works of culture, in school and outside of school as its vehicle. The goal is to describe the images and motives of culture in terms of their possible impact on behavioral patterns and destructiveness (among adolescents and youth), to develop an algorithm for diagnosing the propensity to violence in adolescents and youth. A typological analysis of the content of the content is carried out, an algorithm is proposed for diagnosing the psychological state of adolescents and youth with socialization problems from disadvantaged families in terms of a tendency to violence. The means of broadcasting the ideology of violence through artistic creativity are described on the example of fiction, cinema, computer games.

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Hall, Sara F. "Youth protection and the prevention of juvenile delinquency." Journal of European Studies 39, no. 3 (September 2009): 353–70. http://dx.doi.org/10.1177/0047244109106687.

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The year 1926 marked the passage of Germany’s Law to Protect Youth from Worthless and Obscene Publications. In combination with the Reich Motion Picture Law of 1920, this legislation sought to shelter minors from the corrupting forces of cultural narrative and imagery. As the discourse surrounding these laws attests, the terms of Germany’s so-called ‘cinema debate’ were ambivalent, and discussions about films thematizing crime were especially complex. Whereas many detective and crime films were condemned for glorifying delinquency, brutalizing the senses and exposing youth to excessive details about criminal activity, educational films and films that sounded a warning were viewed by reformists as ideal means to teach moral responsibility and good citizenship. This paper explores the purported connection between visual imagery, sensual—psychological stimulation, crime and censorship during the early years of the Weimar period.

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Zhou, Xuelin. "On the Rooftop: A Study of Marginalized Youth Films in Hong Kong Cinema." Sungkyun Journal of East Asian Studies 8, no. 2 (October 2008): 163–77. http://dx.doi.org/10.21866/esjeas.2008.8.2.003.

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Burgess, Thomas. "Cinema, Bell Bottoms, and Miniskirts: Struggles over Youth and Citizenship in Revolutionary Zanzibar." International Journal of African Historical Studies 35, no. 2/3 (2002): 287. http://dx.doi.org/10.2307/3097615.

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Мамич, Мирослава. "The Vulgarization of the Language of a Children’s Multiplication Text as a Psycholinguistic Problem." PSYCHOLINGUISTICS 26, no. 2 (November 12, 2019): 260–77. http://dx.doi.org/10.31470/2309-1797-2019-26-2-260-277.

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Research aim is to identify the phenomena of verbal vulgarization of children’s cartoon discourse, to determine their functional-semantic loads and registers of reduced emotional evaluation, as well as the main socio-cultural types of corporate vulgar behavior. Research Methods. The study of the vulgarization of children’s media content was carried out with the help of: a) theoretical methods, b) psycholinguistic empirical methods – discourse-analysis of vulgarized dialogical situations; questionnaire related to the testing of registers of dialogical situations in cinema texts among the audience of student’s youth (80 humanitarian students (specialty “Journalism”) of the National University “Odesa Law Academy” aged 17-20 years). Results. The didactic role of animated cinema texts in the formation of media culture is noted. It was proposed the practical analysis of the modern children’s cartoons language in the context of the systematization of markers of affective vulgarity, such as slangisms, jargonisms, elements of common language, obscenisms. On the basis of a survey and psycholinguistic experiment, a stylistic evaluation of the perception of the selected lexical-phraseological material as such that contains the connotation “vulgarity” was confirmed, the attitude of the young generation of viewers to vulgarized cinema text was revealed. Conclusions. Among the main conclusions we may note that as a result of language vulgarization of modern consciousness, in particular children, the so-called conceptual sphere of human activity is changing. The new generation of viewers is focused on low, coarse communication, on the weakening of the feeling of beautiful, on the positive perception of the appropriate aesthetics of everyday life. According to the results of the questionnaire, these cinema texts are perceived neutral by 55 students, positively – 21 students, negatively – 4 students. The language of cartoon characters, which represent certain social groups of real society, is seen as the norm for any situation, and grumpiness, disrespect, psycho-emotional imbalance are seen as their “organic” color. Therefore, the majority, or the vast majority of the respondents, correlated the lexical-phraseological units as jargon that is, acceptable in the youth environment. Modern foreign animation that is presented as translated cinema text, loses the important function of being a mediadidactive source, that is, the medium of producing patterns of individual and collective linguistic behavior.

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Vinogradna, O. "Motivation of viewing as a factor of youth perception of violence in films." Fundamental and applied researches in practice of leading scientific schools 27, no. 3 (June 29, 2018): 117–22. http://dx.doi.org/10.33531/farplss.2018.3.14.

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The article examines the influence of motivation on the perception of film containing episodes of violence. As a result of the study, the motives for watching feature films with the content of violence, reflecting the direct emotional attractiveness of the depicted violence, are associated with an increase in the desire to become acquainted with the cinema production indicated, with its potentially dangerous perceptions. Results show that film violence perception relates to motives. For student youth, the main motives for viewing feature films with the content of violence are: curiosity as the attractiveness of the shown violence, the lack of choice, the attractiveness of the non-violent content of the tape, the desire to look at your favorite actors and heroes, desire, some kind fill up your free time, the desire to get acquainted with an unknown movie, the desire to get acquainted with something new during the viewing, randomness, emotional enthusiasm, satisfaction from the experience of negative emotions during the review poison, influence of the environment, advertising and advice of others, the entertainment of such films and the desire for diversity. Such motives for viewing art films with the content of violence, such as curiosity, enthusiasm, desire for diversity, as a whole, reflect the direct emotional attractiveness of the depictions of violence, associated with an increase in the attractiveness of the cinema production and the desire to revise it.

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D'Onofrio, Emanuele. "Italian Cinema Revisits the 1970s: Film music and youth identity in De Maria's Paz!" Music, Sound, and the Moving Image 1, no. 2 (December 2007): 161–86. http://dx.doi.org/10.3828/msmi.1.2.4.

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Janardhan, J., and C. M. Vinaya Kumar. "Impact of Globalisation on Telugu Cinema: Acceptance and Adoption of Changing Trends by Youth." Journal of Media & Mass Communication 1, no. 1 (2015): 97–100. http://dx.doi.org/10.12720/jmmc.1.2.97-100.

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Tilleczek, Kate, and Janet Loebach. "Research goes to the cinema: The veracity of videography with, for and by youth." Research in Comparative and International Education 10, no. 3 (April 22, 2015): 354–66. http://dx.doi.org/10.1177/1745499915581084.

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Kearney, Peadar. "Screening Youth, Contemporary French and Francophone Cinema ed. by Romain Chareyron and Gilles Viennot." L'Esprit Créateur 60, no. 2 (2020): 152. http://dx.doi.org/10.1353/esp.2020.0019.

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Khalifé, Khadija. "Screening Youth: Contemporary French and Francophone Cinema ed. by Romain Chareyron and Gilles Viennot." French Review 93, no. 3 (2020): 235–36. http://dx.doi.org/10.1353/tfr.2020.0225.

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Sachs, Leon. "Screening Youth: Contemporary French and Francophone Cinema ed. by Romain Chareyon and Gilles Viennot." French Forum 45, no. 3 (2020): 367–69. http://dx.doi.org/10.1353/frf.2020.0028.

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Nesmeyanov, Evgeny, Yulia Petrova, Rupia Bachieva, and Olga Vasichkina. "The concept of value in modern youth subcultures of K-pop and Brony in the period of globalization." SHS Web of Conferences 72 (2019): 03025. http://dx.doi.org/10.1051/shsconf/20197203025.

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The relevance of the research topic is that global youth culture is an interdisciplinary category, with the help of which analysts try to understand the emergence of complex forms of cultural identity and hybridity, which can be found more often among young people around the world and that is directly related to the media (cinema, television, popular music, Internet). To use the analogy with K-pop and Brony youth subcultures, the authors show the similarities between two subcultures on specified grounds, where values define manners and norms of behavior, which are valuable in youth subcultures, gained its worldwide popularity through like-minded friends in online communities where fans are an integral part. The inductive method encourages philosophize about the general picture of two modern youth subcultures to particular moments, i.e. dominant social values in their public actions in both subcultures. Using the method of generalization, the authors consider the value concept of “loyalty” for young people in the context of the phenomenon of fans using the example of K-Pop and Brony subcultures. The most important characteristic of group life is that it has a set of values that govern the behavior of members of the entire group.

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Vassilieva, Julia. "“Becoming-Girl” in the New Russian Cinema: Youth and Valeria Gai Germanika's Films and Television." Camera Obscura: Feminism, Culture, and Media Studies 29, no. 1 (2014): 59–79. http://dx.doi.org/10.1215/02705346-2408516.

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Weyl, Francisco. "I-MARGENS DE UM CARUANA ENTRE ESTÉTICAS DE GUERRILHAS." Arteriais - Revista do Programa de Pós-Gradução em Artes 5, no. 9 (February 16, 2021): 96. http://dx.doi.org/10.18542/arteriais.v5i9.9819.

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ResumoEste artigo reflete questões artísticas, políticas, antropológicas e identitárias, que atravessam ações culturais em comunidades periféricas e quilombolas da Amazônia Paraense, sendo um recorte à pesquisa que desenvolvo no âmbito do Programa Doutoral em Artes Plásticas da Faculdade de Belas Artes da Universidade do Porto, tendo esta narrativa emergido das memórias de práxis transgressoras que caracterizaram resistências coletivas no cenário da arte contemporânea e da antropologia visual, particularmente nas experiências do Projeto Mola, junto a crianças, jovens e adultos em comunidades tradicionais do Município de Cametá, Pará, onde foram realizadas oficinas de Cinema de Guerrilha e outras práxis pedagógicas democráticas subjacentes à construção e à produção de obras audiovisuais, culminando-se com o surgimento da metodologia de ensino do cinema, batizada de “Caruana das Imagens”.Abstract“I-Margins of a Caruana between Guerrilla Aesthetics” reflects artistic, political, anthropological and identity issues, which cross cultural actions in peripheral and quilombola communities in the Paraense Amazon, and is an excerpt from the research developing under the Doctoral Program in Visual Arts at the Faculty of Fine Arts of the University of Porto, this narrative emerged from the memories of transgressive praxis that characterized collective resistance in the contemporary art and visual anthropology scene, particularly in the experiences of Projeto Mola with children, youth and adults in traditional communities in the municipality of Cametá, Pará, where Guerrilla Cinema workshops and other democratic pedagogical praxis underlying the construction and production of audiovisual works were carried out, culminating in the emergence of cinema teaching methodology, called “Caruana das Imagens”.

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Kleiner, Marcus S. "Populäre Medienkulturen. Programmatische Positionen : Popular media cultures. Programmatic positions." SPIEL 4, no. 1 (January 1, 2019): 147–85. http://dx.doi.org/10.3726/spiel.2018.01.08.

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The article discusses the relationship between popular cultures, pop cultures and popular media cultures as transformative educational cultures. For this purpose, these three cultural formations are related to the themes of culture, everyday life, society, education, narration, experience and present. Apart from a few exceptions, such as in youth sociological works on cinema and education, in the context of media literacy discussions or in dealing with media education, educational dimensions of popular cultures and pop cultures have generally not been the focus of attention in media and cultural studies.

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Kleiner, Marcus S. "Populäre Medienkulturen. Programmatische Positionen : Popular media cultures. Programmatic positions." SPIEL 4, no. 1 (January 1, 2019): 147–85. http://dx.doi.org/10.3726/spiel.2019.01.08.

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The article discusses the relationship between popular cultures, pop cultures and popular media cultures as transformative educational cultures. For this purpose, these three cultural formations are related to the themes of culture, everyday life, society, education, narration, experience and present. Apart from a few exceptions, such as in youth sociological works on cinema and education, in the context of media literacy discussions or in dealing with media education, educational dimensions of popular cultures and pop cultures have generally not been the focus of attention in media and cultural studies.

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Woods, Faye. "Telefantasy Tower Blocks: Space, Place and Social Realism Shake-ups in Misfits." Journal of British Cinema and Television 12, no. 2 (April 2015): 229–44. http://dx.doi.org/10.3366/jbctv.2015.0259.

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This article considers the ways in which British youth telefantasy Misfits (E4, 2009–13) takes up and makes strange urban spaces familiar from social-realist narratives. Filmed on the sprawling East London estate, Thamesmead, the programme chronicles a group of young offenders who are given powers by a freak storm, turning them into ‘ASBO superheroes’. Misfits depends on its British urban landscapes for the assertion of its ‘authenticity’ within British youth television, using spaces and landscapes familiar from urban youth exploitation cinema and television's narratives of the underclass. After situating the series within existing cultural discourses and recent developments in social-realist representations, the article explores how Misfits disrupts what have become signifiers for the ‘real’ – the brutalism of housing estates, the grey of the concrete and sky – by making them strange, turning them into telefantasy. The series presents the estate as an uncanny place: the domestic, social-realist world shifted into a fantastical space by the storm. Through close analysis, this article explores how the familiar spaces become skewed and unsettling to match our protagonists' isolation, shifting bodies and scrambled sense of self.

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