Academic literature on the topic 'Teen drama'

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Journal articles on the topic "Teen drama"

1

Walther, Ashley E., Timothy A. Pritts, Richard A. Falcone, Dennis J. Hanseman, and Bryce R. H. Robinson. "Teen trauma without the drama." Journal of Trauma and Acute Care Surgery 77, no. 1 (2014): 109–16. http://dx.doi.org/10.1097/ta.0000000000000277.

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2

Rossi, Manuela. "Teen drama: nuovi educatori alla sessualità?" SALUTE E SOCIETÀ, no. 2 (April 2013): 157–70. http://dx.doi.org/10.3280/ses2013-002010.

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3

Gerrard, Ysabel. "Rethinking women’s guilty pleasures in a social media age: From soap opera to teen drama series." Journal of Popular Television 10, no. 2 (2022): 185–98. http://dx.doi.org/10.1386/jptv_00078_1.

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Fans of teen drama television series often feel that their pleasures are devalued. The history of research into soap opera fans (the genre from which teen drama series derive) tells us that this is unsurprising, as women’s popular pleasures have long been denigrated. Gaining global popularity in the mid-2000s, teen drama fandoms have almost exclusively played out on social media, and this article asks how fans’ experiences of their ‘guilty pleasures’ might have changed in a social media age. The article argues that two things remain unchanged: (1) the stubbornness of gendered and classed assum
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4

Sundet, Vilde Schanke. "From ‘secret’ online teen drama to international cult phenomenon: The global expansion of SKAM and its public service mission." Critical Studies in Television: The International Journal of Television Studies 15, no. 1 (2019): 69–90. http://dx.doi.org/10.1177/1749602019879856.

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This article addresses the production, distribution and global expansion of the online teen drama, SKAM/SHAME (2015–2017), produced by the Norwegian public service broadcaster NRK. The article combines perspectives on transmedia storytelling with production studies and studies of public service broadcasting to investigate the distinct production, publishing and promotion models underpinning SKAM, as well as its public service mission. Furthermore, it addresses SKAM’s transition from a ‘secret’ online teen drama targeting young Norwegians in season one to a global cult phenomenon with viewers a
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5

Kelly, Maura. "Virginity Loss Narratives in “Teen Drama” Television Programs." Journal of Sex Research 47, no. 5 (2010): 479–89. http://dx.doi.org/10.1080/00224490903132044.

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6

Berridge, Susan. "Teen heroine TV: narrative complexity and sexual violence in female-fronted teen drama series." New Review of Film and Television Studies 11, no. 4 (2013): 477–96. http://dx.doi.org/10.1080/17400309.2013.809565.

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7

Silva, Roberta. "The Risk of Conformity: Representing Character in Mass Market Fiction and Narrative Media." International Research in Children's Literature 3, no. 1 (2010): 75–91. http://dx.doi.org/10.3366/ircl.2010.0007.

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In current literary production, teenagers are one of the most important target groups, and there are more and more correlations among books, films and serials dedicated to teenagers; in other words it is impossible to discuss children's literature without placing it into the complex context of the cultural industry. This situation may encourage a ‘mutual influence’ among these media languages, based on the use of the same stock characters and the same stereotypes. But, are teen novels really influenced by teen drama and teen films, absorbing their clichés and conventions? And, if this is the c
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8

Moran, Mark. "Netflix Drama About Teen Suicide Prompts Related Google Searches." Psychiatric News 52, no. 17 (2017): 1. http://dx.doi.org/10.1176/appi.pn.2017.9a2.

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9

Berridge, Susan. "‘Doing it for the kids’? The Discursive Construction of the Teenager and Teenage Sexuality inSkins." Journal of British Cinema and Television 10, no. 4 (2013): 785–801. http://dx.doi.org/10.3366/jbctv.2013.0175.

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The teen series is often regarded by television scholars as an inherently American genre. Indeed, the genre is marked by US constructs, such as the cheerleader, jock, homecoming dance and prom and, in turn, teen television scholarship has focused almost exclusively on US texts. However, more recent years have seen the emergence of British teen drama series, most notably Skins (E4, 2007–), which has been so successful that it has spawned an (albeit short-lived) US version which aired on MTV. In an attempt to redress the dearth of academic study of British teen dramas, this article explores Skin
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10

Permatasari, Ita. "Adjacency Pairs in Drama Script “Teen Angel” by D.M Larson." Ahmad Dahlan Journal of English Studies 4, no. 2 (2017): 13. http://dx.doi.org/10.26555/adjes.v4i2.6413.

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