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.
cinema: ‘Don’t you forget about me’
The opening of John Hughes’
1985 teenfilm The Breakfast Club begins with an on-screen quote
from the David Bowie song ‘Changes’:
children that you spit on, As they try to change their
Women, domesticity and the female Gothic adaptation on television
York : Routledge .
Morley , D. ( 1992 ), Television Audiences and Cultural Studies, London : Routledge .
Moseley , R. ( 2002 ), ‘ Glamorous witchcraft: gender and magic in teenfilm 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
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 teenfilm, Never Been Kissed (Raja Gosnell, 1999),
in which journalist Josie Geller (Drew Barrymore) enrols in her old high
school as an
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 teenfilms or even
On the one hand, this rewriting process in El traje
Television, style and substance in The Time Tunnel
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 teenfilm 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
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 ‘teenfilm’ (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
Embodiment and adolescence in recent Spanish films
of the body of other ‘teen’ films, 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
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 TeenFilm and Television
from ‘Heathers’to ‘Veronica
Mars ’ London, I. B. Tauris.
Lauretis , Teresa de ( 1988 ),
‘Aesthetic and Feminist Theory: Rethinking Women
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
teenfilm and television,” Screen , 43:4 ( 2002 ), 403–22; Wheatley, Gothic
Television , who builds on Spigel and Moseley (p. 141