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Relevant bibliographies by topics / Coming-of-age films

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Journal articles

Academic literature on the topic 'Coming-of-age films'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Coming-of-age films"

1

Windhauser, Brad. "Queer coming of age: Recognizing the genre’s classic cluster." Queer Studies in Media & Popular Culture 8, no. 2 (2023): 195–215. http://dx.doi.org/10.1386/qsmpc_00098_1.

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The queer coming-of-age film genre, although gaining more visibility with a recent slate of films, has not always been recognized or studied as a genre. Providing a unique sense of the struggles queer people experience coming of age in our society, these films serve an important function. By documenting the struggles cis-het society creates for queer adolescents as well as providing hope for the queer audience looking for guidance through this often-difficult period, these films also reveal how queer adolescents lack the same resources and support as their cis-het peers. Since the films in thi

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2

Guo, Nan. "A Study of Female Growth Narrative of Greta Gerwigs Coming-of-age Film." Communications in Humanities Research 21, no. 1 (2023): 60–65. http://dx.doi.org/10.54254/2753-7064/21/20231416.

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This article introduces the development of feminist films, explores the combination of coming-of-age films and feminism, and introduces Greta Gerwigs film history and her film works in the past six years. First, the article introduces the famous women director-Greta Gerwig and her career as an actress and director. Second, it introduces the background of the three films. Through the introduction of three films in the past six years, the paper believes that Greta Gerwig has formed her own unique style of female coming-of-age films. Third, this paper treats of the three ways that Greta Gerwig de

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3

Menendez-Otero, Carlos. "Cowboys and kings: The coming of age film in 1990s Irish cinema." CINEJ Cinema Journal 5, no. 1 (2016): 5–33. http://dx.doi.org/10.5195/cinej.2015.123.

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The article explores why in the 1990s many Irish filmmakers chose precisely a coming of age narrative to attempt to take the international box office by storm, and assesses some of the films that resulted from the attempt. First, it discusses the cultural roots and generic conventions of the Hollywood teen film, especially the rites of passage it has reified and its idealization of small-town, mid-century America. Second, it studies the economic and cultural reasons behind the (over)production of coming of age films in Ireland over the 1990s. Finally, we tackle how these films alternatively de

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4

Zacmane, Daniela. "DEPTHS AND SHALLOWNESS OF COMING-OF-AGE STORY “THE PIT”." Culture Crossroads 23 (January 10, 2024): 239–46. http://dx.doi.org/10.55877/cc.vol23.381.

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Over the course of last three decades, Latvian cinema has experienced significant changes. Since country’s renewal of independence and return to Europe many socio-political transformations took place. Film industry also changed a lot. In the 21st century films mostly are made on the basis of digital technology; film directors can freely choose the subjects of the films. We may presume that the characters portrayed on the screen have undergone changes, for example, representation of mother, father and coming-of-age young people. However, have these changes truly occurred? The essay will focus o

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5

Carter, Jim. "Coming of age in Milano: Ermanno Olmi from sponsored cinema to feature filmmaking." Journal of Italian Cinema & Media Studies 9, no. 3 (2021): 411–28. http://dx.doi.org/10.1386/jicms_00084_1.

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This article argues that a full understanding of Ermanno Olmi’s feature films will require a deep engagement with the sponsored cinema he made as director of the Sezione Cinema Edisonvolta. It begins by spelling out some of the stakes and challenges of a ‘sponsored turn’ in Italian cinema studies, which during the past decade has inaugurated the long archival and critical process of revaluing the corporate roots of auteurs like Michelangelo Antonioni, Bernardo Bertolucci and, to a certain extent, Ermanno Olmi. It then elaborates on the relation between Olmi’s sponsored cinema (1953‐61) and fea

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6

Dave, Paul. "Choosing Death: Working-Class Coming of Age in Contemporary British Cinema." Journal of British Cinema and Television 10, no. 4 (2013): 746–68. http://dx.doi.org/10.3366/jbctv.2013.0173.

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Starting with Franco Moretti's hypothesis of a relationship between the experience of modernity and the coming of age narrative in the European novel, this article explores representations of the working-class Bildung in contemporary British films that can be seen as responding to social and economic changes generally associated with neoliberalism. Contrasting the emphasis on the individual negotiation of social space in the films of Danny Boyle with work from a range of directors, including Ken Loach, Penny Woolcock, Shane Meadows and Anton Corbijn, along with recent production cycles such as

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7

Mukherjee, Utsa, Anil Pradhan, and Ravinder Barn. "Coming of Age in the Diaspora: Bollywood and the Representation of Second Generation British Indian Diaspora." CINEJ Cinema Journal 9, no. 2 (2021): 114–46. http://dx.doi.org/10.5195/cinej.2021.366.

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Bollywood films are a unique visual repository of India’s public imaginings, and they can, therefore, serve as guides to how India sees its past, present, and aspirational future (Dwyer, 2010). Through close intertextual readings of three key popular films depicting British Indian youth, this article explores the ways in which the UK-born/raised second-generation Indian diaspora has come to be represented within Bollywood. We argue that inter-generational negotiations around long-distance nationalism, social reproduction, and marriage are pivotal to the articulation and regulation of diasporic

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8

Van der Walt, Nadia. "Types of Visibility: Disruption, Consent & Contemporary Politics." International Multidisciplinary Research Journal 1 (January 15, 2024): 9–17. http://dx.doi.org/10.47722/imrj.2001.21.

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This paper analyses representations of the coming-of-age process in contemporary narrative films that challenge dominant social and political ideologies. Through an intersectional analysis of Tomboy (2011), Girlhood (2014), and Portrait of a Lady on Fire (2019), all of which were directed by Céline Sciamma; Inxeba (2017) by John Trengove, and Moffie (2019) by Oliver Hermanus, I demonstrate how specific scenes and sequences expose and critique gender, race, class, and sexuality norms. Drawing from feminist, queer, and postcolonial theories, I identify three types of visibility across the films:

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9

Majestya, Nayla. "AN AUTEUR OF DECADENCE: SOFIA COPPOLA AND THE UNBEARABLE HEAVINESS OF COMING OF AGE." Capture : Jurnal Seni Media Rekam 12, no. 2 (2021): 207–18. http://dx.doi.org/10.33153/capture.v12i2.3621.

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As a filmmaker, Sofia Coppola is often under critiques considering her visual excess frivolous. This article is an auteur study towards the thematic and stylistic tendencies of Sofia Coppola’s films. Through analysis of her mise-en-scene, I contend that Coppola, as a film auteur, tends to glorify the image of the lost generation. This glorification is bolstered by her signature style that echoes the spirit of the Decadent movement in the late-nineteenth-century European art scenes, which was preoccupied with the idea of fin de siècle or society in transition at the end of time. This idea is ex

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Monaghan, Whitney. "Not Just a Phase." Girlhood Studies 12, no. 1 (2019): 98–113. http://dx.doi.org/10.3167/ghs.2019.120109.

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In this article, I seek to interrogate the visibility of queer girls in contemporary cinema. I demonstrate how queerness has long been associated with a passing phase of adolescent development in the teen media sphere. I reflect on the nuanced relationships between queerness and girlhood in four contemporary US independent queer films, arguing that Pariah (2011), Mosquita y Mari (2012), First Girl I Loved (2016), and Princess Cyd (2017) are representative of a new wave of queer girlhood on screen. Rejecting the pervasive tropes of coming out as coming of age and just a phase, these films use q

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