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Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.

Horror and generic hybridity
Andy W. Smith

generic forms. 1980s teen cinema: ‘Don’t you forget about me’ The opening of John Hughes’ 1985 teen film The Breakfast Club begins with an on-screen quote from the David Bowie song ‘Changes’: And these children that you spit on, As they try to change their worlds Are

in Monstrous adaptations
Women, domesticity and the female Gothic adaptation on television
Helen Wheatley

York : Routledge . Morley , D. ( 1992 ), Television Audiences and Cultural Studies, London : Routledge . Moseley , R. ( 2002 ), ‘ Glamorous witchcraft: gender and magic in teen film and television ’, Screen 43 : 4 , 403–422 . Moseley , R. , and J. Read ( 2002 ), ‘ “Having it Ally”: popular television (post-)feminism ’, Feminist Media Studies 2 : 2 , 231–249 . Nelson , R. ( 2001 ), ‘ Costume Drama ’, in G. Creeber (ed.), The Television Genre Book , London : BFI . Pidduck , J. ( 1998 ), ‘ Of windows and country walks: frames

in Popular television drama
The Smiths and kitchen-sink cinema
Cecília Mello

order to form a picture, just as film is composed of shots and frames added together by the editing and the projector. The instrumental version of ‘Please Please Please . . . ’ adorns this contemplative sequence in this by and large upbeat film, offering a counterpoint to the rather stereotypical miserabilist view of The Smiths. The song was subsequently used in its original version during the prom scene in another American teen film, Never Been Kissed (Raja Gosnell, 1999), in which journalist Josie Geller (Drew Barrymore) enrols in her old high school as an

in Why pamper life's complexities?
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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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