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Understanding American culture in the early twenty-first century. Understanding of youth and how they may understand themselves, andįurthermore, you will discern the rich contexts these films propose for In the chapters thatįollow, you will see how Latourian concepts and ANT can inform our Texts are not selected merely for their popularity. The examples considered are admittedly contained within the American realm, which does tend to dominate the global market, yet the key Through employing a comprehensive social theory is refreshing and innovative. This resulting re-appreciation of teen cinema Takes on a delightfully intriguing array of topics within adolescent mediaĬoncerns, such as makeover narratives, gay conversion therapy, racial With which adolescence is portrayed in cinema. Insight to the use of Actor-Network Theory and related concepts withinĪ codified realm of media while also revealing the ongoing complexity The meticulously detailed accounts of recent teen films hereĮngage with the work of Bruno Latour at a sophisticated level, providing The academic study of youth in cinema has remained primarily theĭomain of these representational concerns, yet this volume presents aįurther evolution of the field with its theoretical applications to the Guardians, corporate capitalists, educators, and demographers. The population that draws endless concern from parental figures, moral The resulting analyses were thus concerned with the social roles, politics, sexual dynamics,Įconomics, and psychology of teenagers, an amorphous segment of How they were represented by these media products. Targeted as a market (which the industry understood for decades) but Cinema’s maturingĪddress of adolescence, which began in the post-World War II era, yieldedĪn increasingly serious academic interest in how youth were not only Puerile depictions of sex quests and stalker killers.
At that time, aįew foundational books had been published, and journal articles wereĪppearing that suggested the “teen screen” was no longer reviled for Since I first started my research in the mid-1990s. Studies of youth in movies and other media have enjoyed fruitful progress Schrank for the lessons they have taught my eyes, mind, and heart.ĭedicated to Henni-may the teen film in which you will star one day be With gratitude to the genius of Laura Mulvey, Sigrid Lange, and Stefanie The registered company address is: GewerbestraCham, Switzerl and This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland
Regard to jurisdictional claims in published maps and institutional affiliations. Herein or for any errors or omissions that may have been made. Neither the publisher nor theĪuthors or the editors give a warranty, expressed or implied, with respect to the material contained The publisher, the authors and the editors are safe to assume that the advice and information in thisīook are believed to be true and accurate at the date of publication.
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© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Through an exploration of a wide and diverse range of examples from the past decade, including films by female and African-American directors, urban and rural perspectives, and non-heteronormative sexualities, Actor-Network Theory at the Movies demonstrates how the classic Teen Film canon has been regurgitated, expanded, and renewed. The case studies develop a Latourian film semiotics as a flexible analytical approach which raises new questions, not only about the history, types and tropes of teen films, but also about their aesthetics, mediality, and composition. While many productions may recycle formulaic patterns, there is also a proliferation of cinematic coming-of-age narratives that are aesthetically and politically progressive, experimental, and complex. Through the example of the Hollywood Teen Film and with a particular focus on Actor-Network Theory (ANT), the book delineates how Teen Film has established itself as one of Hollywood’s most consistent and dynamic genres. This book is one of the first to apply the theoretical tools proposed by French philosopher Bruno Latour to film studies.