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A techno-bestiary of drones in art and war
Claudette Lauzon

horror cinema of the mid-twentieth century, the word ‘blob’ will conjure the eponymously titled 1958 teen film in which a human-devouring amoeba-like alien organism, which has fallen to earth in a meteorite, terrorises a small town and threatens to eventually engulf the entire planet but for the valiant efforts of two quick-thinking teenagers. 29 Eventually flash frozen and transported to the north pole, the blob is left there to hibernate for ‘as long as the arctic stays cold’ – a chillingly prescient cliff-hanger if ever there was one. But putting aside the

in Drone imaginaries
The transnational and transgeneric initiative of La Zanfoña Producciones
Josetxo Cerdán and Miguel Fernández Labayen

genres. This generic mixture can be found in most of La Zanfoña’s productions, where the principal characters are losers taken from the melodrama schemata, but the point of view is closer to comedy, with a treatment that swings freely across comedy and other generic codifications, such as suburban teen films or even romantic comedy. On the one hand, this rewriting process in El traje

in Contemporary Spanish cinema and genre
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Television, style and substance in The Time Tunnel
Jonathan Bignell

suburban milieu. ABC attracted a relatively young audience (Bedell Smith 1981 : 31–6), and the casting of The Time Tunnel seems calculated to appeal to them. One of the young scientist protagonists, Tony Newman, was played by the emerging pop star James Darren, star of the teen film Gidget (1959) and its sequels. The other, Doug Phillips, was played by the more experienced actor Robert Colbert, who appeared in the television western Maverick in 1961 and in other long-running series. As a genre, science fiction addressed the young adult audiences that were becoming

in Substance / style
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Socially critical movies
Chris Beasley and Heather Brook

of a war between the USA and Albania. The film was released shortly before the Clinton administration faced the Monica Lewinsky scandal, and in some ways presciently addressed the role of ‘news’ (and ‘fake news’) during election campaigns. Election (2000) employs a high-school setting but is something quite other than a typical ‘teen film’ (Karlyn, 2011: 140). Allegorising school and nation, Election satirises ‘both the US political system and mainstream America’s suspicion of excellence’ along with (gendered) political ambition (Karlyn, 2011: 140). The primary

in The cultural politics of contemporary Hollywood film
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Embodiment and adolescence in recent Spanish films
Sarah Wright

of the body of other ‘teenfilms, nor the exploring of the body’s orifices for masturbation in, for example, Cesc Gay’s Krámpack. In the final lines of the film we will learn that El Bola’s maltreatment by his father included cigarette burns, being spat on as well as being forced to take laxatives and to drink urine. This is a much more visceral lesson in the body’s limits and surfaces than the lesson on the body’s circulation and excretions that the class are engaged in upon his return to school after one beating (Fouz-Hernández, 2007). The wounded, beaten body

in The child in Spanish cinema
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1990s style and the perennial return of Goth
Catherine Spooner

staff and then the pupils of a school with the objective of making everyone conform and therefore happy The (female) alien is disguised as the new girl at the school, a stock character in the teen film narrative, who therefore is literally as alienated as the five teenagers she falls in with who eventually unmask and defeat her. These five are directly modelled on the archetypes of The Breakfast Club

in Fashioning Gothic bodies
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The double and the single woman
Catherine Spooner

the likes of Cosmopolitan, and espoused by Allie herself. Hedy’s first attempts to look like Allie are couched within the terms of the conventional ‘makeover’, a common feature of women’s magazines and also of films with a female target audience, from teen films such as Clueless (1995) and She’s All That (1998) to blockbusters such as the Sandra Bullock vehicle Miss

in Fashioning Gothic bodies
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Rupture and transmission
Julia Dobson

. Anne ( 1983 ), ‘Theories of Melodrama: A Feminist Perspective’, Women and Performance: A Journal of Feminist Theory , 1 ( 1 ) 40–8 . Kaveney , Roz ( 2006 ), Teen Dreams: Reading Teen Film and Television from ‘Heathers’to ‘Veronica Mars ’ London, I. B. Tauris. Lauretis , Teresa de ( 1988 ), ‘Aesthetic and Feminist Theory: Rethinking Women

in Negotiating the auteur
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Julia M. Wright

. 34 Lynn Spigel, Welcome to the Dreamhouse: Popular Media and the Postwar Suburbs (Durham, NC: Duke University Press, 2001 ), p. 128. See also Rachel Moseley, “Glamorous witchcraft: gender and magic in teen film and television,” Screen , 43:4 ( 2002 ), 403–22; Wheatley, Gothic Television , who builds on Spigel and Moseley (p. 141

in Men with stakes