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Drawing from political sociology, pop psychology, and film studies, Cinemas of Boyhood explores the important yet often overlooked subject of boys and boyhood in film. This collected volume features an eclectic range of films from British and Indian cinemas to silent Hollywood and the new Hollywood of the 1980s, culminating in a comprehensive overview of the diverse concerns surrounding representations of boyhood in film.
Where the Boys are by Murray Pomerance,Frances K. Gateward Pdf
The development of young masculine sexuality is still a cultural taboo of sorts, and until now there has been little scholarship available that discusses aspects of boyhood and its relation to cinema--in particular, the process whereby masculinities are socially, historically, economically, aesthetically, and psychologically created in male coming-of-age as depicted onscreen. Where the Boys Are: Cinemas of Masculinity and Youth scrutinizes a broad corpus of films about boyhood within a cross-genre, trans-historical, cross-authorial, and cross-cultural framework. Unlike the filmic investigations before it, this book is not restricted to examining boys as agents of violence, aggression, and withdrawal; or as routinely glassed agents of romance or victims of comedic ridicule. Where the Boys Are is divided into three sections: Archetypes and Facades includes essays that examine historically central typifications of boyhood, the most accessible categories for seeing and understanding boy characters; essays in Bonds and Beautifications analyze the ways boys establish images of themselves and identify with one another in affiliation or love; and essays in Struggles and Redefinitions explore the way boys are depicted in film as aligning themselves in relation to people, forces, ideas, and situations. Using the most current and diverse critical methods, Where the Boys Are is a crucial resources for film scholars and students at any level, and is also the perfect companion to Gateward and Pomerance's Sugar, Spice, and Everything Nice: Cinemas of Girlhood (Wayne State University Press, 2002).
Author : Murray Pomerance,Frances K. Gateward Publisher : Wayne State University Press Page : 444 pages File Size : 53,6 Mb Release : 2005 Category : Boys in motion pictures ISBN : 0814331157
Ageing Masculinities in Contemporary European and Anglophone Cinema by Tony Tracy,Michaela Schrage-Früh Pdf
This volume offers a unique exploration of how ageing masculinities are constructed and represented in contemporary international cinema. With chapters spanning a range of national cinemas, the primarily European focus of the book is juxtaposed with analysis of the social and cultural constructions of manhood and the "anti-ageing" impulses of male stardom in contemporary Hollywood. These themes are inflected in different ways throughout the volume, from considering how old age is not the monolithic and unified life stage with which it is often framed, to exploring issues of queerness, sexuality, and asexuality, as well as themes such as national cinema and dementia. Offering a diverse and multifaceted portrait of ageing and masculinity in contemporary cinema, this book will be of interest to scholars and students of film and screen studies, gender and masculinity studies, and cultural gerontology.
The Oxford Handbook of Children's Film by Noel Brown Pdf
Exploring cultural and social differences in defining a children's film / Becky Parry -- Screening innocence in children's film / Debbie Olson -- Screen adaptations of the Wizard of OZ and metafilmicity in children's film / Ryan Bunch -- Children's films and the avant-garde / Bettina Kümmerling-Meibauer -- Intertextuality and 'adult' humour in children's film / Sam Summers -- Children's film and the problematic 'happy ending' / Noel Brown -- The cop and the kid in 1930s American film / Pamela Robertson-Wojcik -- History, forbidden games, children's play, and trauma theory / Ian Wojcik-Andrews -- Changing conceptions of childhood in the work of the Children's Film Foundation / Robert Shail -- Migrant children and the 'space between' in the films of Angelopoulos / Stephanie Hemelryk Donald -- Iranian cinema and a world through the eyes of a child / John Stephens -- The American tween and contemporary Hollywood cinema / Timothy Shary -- Growing up on Scandinavian screens / Anders Lysne -- Mary Pickford, Alma Taylor, and girlhood in Early Hollywood and British cinema / Matthew Smith -- Craft and play in Lotte Reiniger's fairy tale films / Caroline Ruddell -- Disney's musical landscapes / Daniel Batchelder -- Hayley Mills and the Disneyfication of childhood / David Buckingham -- Danny Kaye as children's film star / Bruce Babington -- Real animals and the problem of anthropomorphism in children's film / Claudia Alonso-Recarte and Ignacio Ramos-Gay -- Nation, identity, and the arrikin streak in Australian children's cinema / Adrian Schober -- Nationalism in Swedish Children's Film and the Case of Astrid Lindgren / Anders Wilhelm Åberg -- Unreality, Fantasy, and the Anti-Fascist Politics of the Children's Films of Satyajit Ray / Koel Banerjee -- Gender, Ideology, and Nationalism in Chinese Children's Cinema / Yuhan Huang -- Ethnic and racial difference in the Hungarian animated features Macskafogó/Cat City (1986) and Macskafogó 2/Cat City 2 (2007) / Gábor Gergely -- Negotiating East and West when representing childhood in Miyazaki's Spirited away / Katherine Whitehurst -- Coming of age in South Korean cinema / Sung-Ae Lee -- The Walt Disney Company, family entertainment, and global movie hits / Peter Krämer -- Reading Jason and the argonauts as a children's film / Susan Smith -- Hollywood and the baby boom audience in the 1950s and 1960s / James Russell -- Don Bluth and the Disney renaissance / Peter Kunze -- On 'love experts', evil princes, gullible princesses, and Frozen / Amy M. Davis -- Hollywood, regulation, and the 'disappearing' children's film / Filipa Antunes -- How children learn to 'read' movies / Cary Bazalgette -- Star Wars, children's film culture, and fan paratexts / Lincoln Geraghty -- Norwegian tween girls and everyday life through Disney tween franchises / Ingvild Kvale Sørenssen -- A multimethod study on contemporary young audiences and their film/cinema discourses and practices in Flanders, Belgium / Aleit Veenstra, Philippe Meers, and Daniël Biltereyst -- An empirical report on young people's responses to adult fantasy films / Martin Barker -- Disney's adult audiences / James R. Mason.
Desire and Consent in Representations of Adolescent Sexuality with Adults by Maureen Turim,Diane Waldman Pdf
This book presents an innovative comparative view of how the issue of adolescent sexuality and consent is differently treated in various media. Analyzing teenage sexual encounters with adults across a variety of media, including films, television, novels, and podcasts, the volume takes a positive stance on the expression of teenage sexuality, while remaining sensitive to the power of adults to abuse and manipulate. The anthology treats these representations as negotiations between conflicting forces: desire, sexual self-knowledge, unequal power, and the law, the latter both actual legal statutes and internalized law in the philosophical and psychoanalytic sense. Questions of unequal power inherent in such relations are theorized. The authors examine variations of this configuration of sexual relations between teenagers and adults from different perspectives, to consider how various forms of expression rework it formally. These essays are attuned to both nuances of presentation and contexts of reception, and they consider how aesthetics play a role. Contributing to the general debate about the ways that societies construct and regulate adolescent sexuality, this book will be of great interest to scholars and students of media studies, cultural studies, film studies, television studies, sociology, and gender studies
The term “art cinema” has been applied to many cinematic projects, including the film d’art movement, the postwar avant-gardes, various Asian new waves, the New Hollywood, and American indie films, but until now no one has actually defined what “art cinema” is. Turning the traditional, highbrow notion of art cinema on its head, Theorizing Art Cinemas takes a flexible, inclusive approach that views art cinema as a predictable way of valuing movies as “art” movies—an activity that has occurred across film history and across film subcultures—rather than as a traditional genre in the sense of a distinct set of forms or a closed historical period or movement. David Andrews opens with a history of the art cinema “super-genre” from the early days of silent movies to the postwar European invasion that brought Italian Neorealism, the French New Wave, and the New German Cinema to the forefront and led to the development of auteur theory. He then discusses the mechanics of art cinema, from art houses, film festivals, and the academic discipline of film studies, to the audiences and distribution systems for art cinema as a whole. This wide-ranging approach allows Andrews to develop a theory that encompasses both the high and low ends of art cinema in all of its different aspects, including world cinema, avant-garde films, experimental films, and cult cinema. All of these art cinemas, according to Andrews, share an emphasis on quality, authorship, and anticommercialism, whether the film in question is film festival favorite or a midnight movie.
Provides an analysis of Hollywood from a fresh viewpoint that shows the careers of Robert Altman, Francis Coppola, William Friedkin, and others in the 1980s as far from conforming to a monolithic pattern of decline, but rather as diverse and complex responses to political and industrial changes. The 1980s are routinely seen as the era of the blockbuster and of 'Reaganite entertainment,' whereas the dominant view of late 1960s and early 1970s American film history is that of a 'Hollywood Renaissance', a relatively brief window of artistry based around a select group of directors. Yet key directors associated with the Renaissance period remained active throughout the 1980s and their work has been obscured or dismissed by a narrow, singular model of American film history. This book deals with industrial contexts that conditioned these directors' ability to work creatively, but it is also very much about the analysis of individual films, bringing to light a range of unheralded work, from the visual experimentation of One from the Heart (Coppola, 1981) to the experimental production contexts of Secret Honor (Altman, 1984) and the stylistic élan of To Live and Die in L.A. (Friedkin, 1985). Behind the homogenous picture of the decline of the auteur in 1980s American cinema are films and careers that merit greater attention, and this book offers a new way to perceive individual films, American film history, and the viability of sustained authorial creativity within post-studio era Hollywood.
In this unique study of the star, Sunny Singh examines Amitabh Bachchan's film performances and his star persona, locating them in the context of cultural phenomena and global branding, and explores the reasons behind the longevity of his stardom. This illuminating analysis assesses the full range of Bachchan's work, personality and influence - political, social, economic and technological. With in-depth analyses of key films and their wide-ranging social contexts, Singh offers a provocative and in-depth study of the superstar, his extensive career to date as well as the nature of Indian, Asian, and global stardom. An ideal resource for undergraduate and postgraduate students of film and television studies, this fascinating guide will also appeal to film lovers and anyone interested in this famed actor's transnational career.
The Movies of Racial Childhoods by Celine Parreñas Shimizu Pdf
In The Movies of Racial Childhoods Celine Parreñas Shimizu examines early twenty-first-century cinematic representations of Asian and Asian American children. Drawing on psychoanalysis and her own perspective as a mother grieving for a deceased child, Shimizu considers how cinema renders Asian American children through sexualized racial difference, infantilization, and premature adultification. She looks at how Asian American childhood is characterized in film through experiences of alienation and trauma and contends that childhood development requires finding freedom and self-sovereignty through agentic attunement. In analyzing films that focus on queer Asian American youth such as Spa Night (2016) and Driveways (2019) and those that explore the trauma of being an immigrant like Yellow Rose (2019) and The Half of It (2020), Shimizu demonstrates that films can prompt viewers to evaluate their own childhood development. They also allow the opportunity to understand the demands placed upon Asian American children, particularly in regard to race and sexuality. In this way, cinema becomes a vehicle for empowering our inner child and the children all around us.
When teenagers began hanging out at the mall in the early 1980s, the movies followed. Multiplex theaters offered teens a wide array of perspectives on the coming-of-age experience, as well as an escape into the alternative worlds of science fiction and horror. Youth films remained a popular and profitable genre through the 1990s, offering teens a place to reflect on their evolving identities from adolescence to adulthood while simultaneously shaping and maintaining those identities. Drawing examples from hundreds of popular and lesser-known youth-themed films, Timothy Shary here offers a comprehensive examination of the representation of teenagers in American cinema in the 1980s and 1990s. He focuses on five subgenres—school, delinquency, horror, science, and romance/sexuality—to explore how they represent teens and their concerns, how these representations change over time, and how youth movies both mirror and shape societal expectations and fears about teen identities and roles. He concludes that while some teen films continue to exploit various notions of youth sexuality and violence, most teen films of the past generation have shown an increasing diversity of adolescent experiences and have been sympathetic to the particular challenges that teens face.
Asian Children’s Literature and Film in a Global Age by Bernard Wilson,Sharmani Patricia Gabriel Pdf
This volume provides a key analysis of Asian children’s literature and film and creates a dialogue between East and West and between the cultures from which they emerge, within the complex symbiosis of their local, national and transnational frameworks. In terms of location and content the book embraces a broad scope, including contributions related to the Asian-American diaspora, China, India, Indonesia, Iran, Japan, Malaysia, the Philippines, South Korea, Sri Lanka, and Taiwan. Individually and collectively, these essays broach crucial questions: What elements of Asian literature and film make them distinctive, both within their own specific culture and within the broader Asian area? What aspects link them to these genres in other parts of the world? How have they represented and shaped the societies and cultures they inhabit? What moral codes do they address, underpin, or contest? The volume provides further voice to the increasingly diverse and fascinating output of the region and emphasises the importance of Asian art forms as depictions of specific cultures but also of their connection to broader themes in children’s texts, and scholarship within this field.
The thirty-eight tales of Cinema Stories combine fact and fiction, and they all revolve around movie-making. The book compresses a lifetime of feeling, thought, and practice: Kluge -- considered the father of New German Cinema -- is an inventive wellspring of narrative notions. "The power of his prose," as Small Press noted, "exudes the sort of pregnant richness one might find in the brief scenarios of unknown films." Cinema Stories is a treasure box of cinematic lore and movie magic by "Alexander Kluge, that most enlightened of writers" (W. G. Sebald). Alexander Kluge, born in Germany in 1932, is a world-famous author and filmmaker (his 23 films include Yesterday Girl, The Female Patriot, The Candidate), a lawyer, and a media magnate. He has won Germany\'s highest literary award, the Georg Büchner Prize.
"For Pleasure argues that aesthetic pleasure and formal experimentalism hold the twinned capacity to maintain a global racial order and also to undo it"--
