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Lädt ... Generation Multiplex: The Image of Youth in Contemporary American Cinemavon Timothy Shary
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Generation Multiplex (2002) was the first comprehensive study of the representation of teenagers in American cinema since David Considine ?s Cinema of Adolescence in 1985. This updated and expanded edition reaffirms the idea that films about youth constitute a legitimate genre worthy of study on its own terms. Identifying four distinct subgenres ?school, delinquency, horror, and romance ?Timothy Shary explores hundreds of representative films while offering in-depth discussion of movies that constitute key moments in the genre, including Fast Times at Ridgemont High, A Nightmare on Elm Street, The Breakfast Club, Say Anything . . . , Boyz N the Hood, Scream, American Pie, Napoleon Dynamite, Superbad, The Twilight Saga, and The Hunger Games. Analyzing developments in teen films since 2002, Shary covers such topics as the increasing availability of movies on demand, which has given teens greater access to both popular and lesser-seen films; the recent dominance of supernatural and fantasy films as a category within the genre; and how the ongoing commodification of teen images in media affects real-life issues such as school bullying, athletic development, sexual identity, and teenage pregnancy. Keine Bibliotheksbeschreibungen gefunden. |
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Google Books — Lädt ... GenresMelvil Decimal System (DDC)791.43The arts Recreational and performing arts Public performances Film, Radio, and Television FilmKlassifikation der Library of Congress [LCC] (USA)BewertungDurchschnitt:
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Shary, adapting and expanding his PhD thesis, does his job thoroughly and well. This is likely the definitive book on its subject, and – as befits such a book – it’s exhaustively comprehensive, lucidly organized, and clearly written. Anyone seriously interested in the Hollywood teen film, or in Hollywood films of the eighties and nineties, needs a copy of Generation Multiplex.
All that said, it’s not a lot of fun to read. Shary’s grouping of teen films by type, rather than year, facilitates his analysis of shared themes, but kills any sense of narrative momentum and makes it hard for him to connect the films to broader social and cultural trends. His “voice” is so measured, and his analyses so relentlessly sober, that it’s easy to forget how frequently and enthusiastically the genre he’s analyzing embraced anarchy, surrealism, and low comedy. First books by academic authors (mine included) can be like that. When your book starts as a PhD thesis, it’s hard – no matter how much you edit – to get the chill of seriousness out of its bones.
If you’re a reader of a certain age and (just) want a breezy, nostalgic tour of the movies of your youth . . . Generation Multiplex isn’t your book. If, however, you want to know what those movies were telling the world about you and your friends, it most certainly is. ( )