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Journal articles on the topic 'Teen film'

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1

Clarke, Kyra. "Teens on screens: Girls’ negotiations of representations of texting in teen film." International Journal of Cultural Studies 25, no. 2 (2021): 141–56. http://dx.doi.org/10.1177/13678779211061756.

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Teen film is a space where stories about young people’s engagement with technology are told and where relationships and communication are represented. How do girls engage with such stories? This article draws on material from two focus groups held with girls at high schools located in the North Island of Aotearoa New Zealand in November 2019 and places this in the context of other representations of image sharing and texting in teen films over the past 25 years. Participants were shown a scene from Netflix teen film Sierra Burgess Is a Loser (2018), in which Sierra receives a shirtless selfie
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2

Dwyer, Michael D. "The same old songs in Reagan-era teen film." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 5–18. http://dx.doi.org/10.33178/alpha.3.01.

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This article examines the recontextualization of 1950s rock in the form of “Oldies” in teen films of the 1970s and 1980s. Specifically, the article highlights the peculiar phenomenon of scenes featuring teenagers lip-synching to oldies songs in films like Risky Business (1983), Pretty in Pink (1986), Ferris Bueller's Day Off (1986), and Adventures in Babysitting (1987).In these scenes, like in the cover versions of rhythm and blues records popularized by white artists in the fifties, white teens embody black cultural forms, “covering” over the racial and sexual politics that characterized rock
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3

Komalawati, Euis. "Teen and Social Violence in Cinema: Construction of Teen Identity in Film Dilan 1990." Jurnal Komunikasi Ikatan Sarjana Komunikasi Indonesia 5, no. 2 (2020): 225–31. http://dx.doi.org/10.25008/jkiski.v5i2.430.

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Dilan 1990 is a teenage film with the highest number of viewers in 2018, which reached 6,315,664. The success of Dilan 1990 is inseparable from the culture industry's strength, which can mobilize public interest through reliable publication and marketing. The success of the film Dilan carrying the characters of Dilan and Milea as teen idols raises concerns about the identity of adolescents who are laden with violent symbols. This is because the content and theme of the story in the 1990s were constructed with Dilan's character, who liked to fight. For this reason, this study aims to analyze th
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4

Williams, Kimberly. "Film Series Spawns Teen Ocean Stewards." Current: The Journal of Marine Education 31, no. 2 (2018): 21. http://dx.doi.org/10.5334/cjme.4.

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Speed, Lesley. "Tuesday's Gone: The Nostalgic Teen Film." Journal of Popular Film and Television 26, no. 1 (1998): 24–32. http://dx.doi.org/10.1080/01956059809602770.

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Rosinska, O. А. "TEEN FILM OF “STOP-EARTH”: FILM REVIEWS AND VIEWERS’ RECEPTIONS." "Scientific notes of V. I. Vernadsky Taurida National University", Series: "Philology. Journalism" 2, no. 5 (2022): 233–38. http://dx.doi.org/10.32782/2710-4656/2022.5.2/39.

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7

Laberge, Yves. "The aesthetic pleasures of girl teen film." Visual Studies 34, no. 4 (2019): 405–6. http://dx.doi.org/10.1080/1472586x.2019.1655263.

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8

Strong, Catherine. "Book Review: Teen Film: A Critical Introduction." Media International Australia 147, no. 1 (2013): 161–62. http://dx.doi.org/10.1177/1329878x1314700121.

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9

Herrman, Judith W., Christopher C. Moore, and Becky Anthony. "Using Film Clips to Teach Teen Pregnancy Prevention:The Gloucester 18at a Teen Summit." American Journal of Sexuality Education 7, no. 3 (2012): 198–211. http://dx.doi.org/10.1080/15546128.2012.707073.

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10

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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11

Ernawati, Arni. "Studi Kasus Politik Identitas Perempuan dalam Film Ada Apa dengan Cinta." Nyimak: Journal of Communication 4, no. 1 (2020): 53. http://dx.doi.org/10.31000/nyimak.v4i1.2297.

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Media audiovisual seperti film diyakini bisa menjadi alat penyampai pesan paling ampuh untuk masyarakat. Tidak heran banyak industri film semakin tumbuh subur untuk berlomba-lomba membuat film. Tema film yang hadirkan pun bermacam-macam, dan tema percintaan masih mendominasi dalam industri perfilman kita. Salah satu film yang turut meramaikan industri perfilman adalah film Ada Apa dengan Cinta (AADC) yang dirilis pada 7 Februari 2002. Film ini bisa dikatakan sebagai film pelopor dan paling laris pada masanya untuk kategori film pop-remaja atau percintaan platonis remaja. Film ini mengandung pe
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12

Waldburger, Adia. "Sport on the Screen: A Look at Sport Films Featured at Sundance 2011." International Journal of Sport Communication 4, no. 2 (2011): 253–58. http://dx.doi.org/10.1123/ijsc.4.2.253.

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Audiences had the opportunity to applaud for sport films at the 2011 Sundance Film Festival in Park City, UT. Two sport-themed documentary films won audience awards. The U.S. winner, Buck, follows the life of horse trainer Buck Brannaman, and Senna, a look at the life of Formula One hero Ayrton Senna, won in the international category. Other sport films screened this year included Win Win, in which Paul Giamatti stars as a volunteer high school wrestling coach; Benevides Born, about a teen female wrestler trying win a scholarship; and two short movie entries, Bike Race, an animated film about
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13

Surahman, Sigit, Meliana Pratiwi, and Annisarizki Annisarizki. "Cross Culture Generasi Milenial dalam Film “My Generation”." REKAM 15, no. 1 (2019): 13–32. http://dx.doi.org/10.24821/rekam.v15i1.2576.

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This research aims to explore the signs that represent the millennial generation cross culture in the film My Generation (2017) by Upi Avianto. This film, shows the dynamics of life for generations of millennials in the era of technological development. Unlike teen films in general, this film dares to portray the reality of a teenager's life from the results of two years of director research through social media. So that the film portrays the cross-culture of the millennial generation with what is positive and negative. With Roland Barthes's semiotic analysis method and qualitative descriptive
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14

de Jesus, Desirée. "The Aesthetic Pleasures of Girl Teen Film by Samantha Colling." Alphaville: Journal of Film and Screen Media, no. 16 (January 30, 2019): 103–8. http://dx.doi.org/10.33178/alpha.16.08.

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Moseley, R. "Glamorous witchcraft: gender and magic in teen film and television." Screen 43, no. 4 (2002): 403–22. http://dx.doi.org/10.1093/screen/43.4.403.

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16

SPEED, LESLEY. "Loose Cannons: White Masculinity and the Vulgar Teen Comedy Film." Journal of Popular Culture 43, no. 4 (2010): 820–41. http://dx.doi.org/10.1111/j.1540-5931.2010.00772.x.

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Klimova, Tatyana, and Anastasia Rossinskaya. "Film club as a tool for developing the culture of experience among parents." SHS Web of Conferences 98 (2021): 02010. http://dx.doi.org/10.1051/shsconf/20219802010.

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While observing the difficulties that parents experience in communicating with their adolescent children (for example, ignoring, misunderstanding, or underestimating the problems faced by teenagers, inability to build trust-based relationships, difficulties in discussing complex topics of interpersonal relationships, life choices, school problems, self-determination, etc.), the authors emphasized the need to search for methodological tools that can help overcome these problems of intergenerational communication through developing the culture of experience among parents. A film club for parents
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18

Regueira Martín, Andrea Sofía. "From the Teen Film to the Emerging Adult Film: The Road to Adulthood in Say Anything (1989) and High Fidelity (2000)." Anglica. An International Journal of English Studies, no. 31/1 (October 2022): 125–40. http://dx.doi.org/10.7311/0860-5734.31.1.07.

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In the past decades, the transition to adulthood in post-industrial countries has become longer, giving rise to emerging adulthood, a new life stage between adolescence and adulthood (Arnett and Taber 1994, Arnett 2000, 2004). Cinema has reflected this change, with a growing number of narratives exploring the challenges of this life stage. Through a comparative analysis of Say Anything (Cameron Crowe, 1989) and High Fidelity (Stephen Frears, 2000), this article seeks to establish the emerging adult film as a youth film subgenre of its own by outlining some of the generic conventions that make
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19

Giallongo, Angela. "Emozionanti mostri femminili tra storia e cinema." El Futuro del Pasado 5 (October 13, 2014): 51–64. http://dx.doi.org/10.14516/fdp.2014.005.001.002.

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Ricorrendo al concetto chiave di paura, usato come categoria storica, il presente contributo esamina l’antico mito gorgonico in sette film e in alcuni esempi di Teen Movies. L’analisi critica focalizza l’attenzione sull’interdipendenza tra le emozioni negative, gli usi attuali di questa immagine archetipica e la ricerca storica sull’immaginario di genere.
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Norbury, Kate. "Ten Songs: Representations of Female Musical Creativity in Contemporary Teen Film." Journal of Popular Culture 49, no. 4 (2016): 839–55. http://dx.doi.org/10.1111/jpcu.12432.

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21

Wilkinson, Maryn. "The makeover and the malleable body in 1980s American teen film." International Journal of Cultural Studies 18, no. 3 (2014): 385–91. http://dx.doi.org/10.1177/1367877913513698.

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22

Prasetya, Hendri, and Dinda Ashriah Rahman. "BENTUK KEKERASAN PADA PEREMPUAN DALAM HUBUNGAN BERPACARAN DI FILM." Jurnal Pustaka Komunikasi 3, no. 2 (2020): 263–72. http://dx.doi.org/10.32509/pustakom.v3i2.1128.

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Film is an effective mass communication media in conveying various kinds of messages. From the aspect of communication, films have many advantages compared to other media because they are presented in an audio-visual form. Possessive films are interesting to study because they highlight forms of dating violence that are still underestimated and different from other teen films that have been circulating in the market. Researchers conducted in-depth research and found dating violence was in the first position. This study wanted to reveal the form of violence against women in dating in possessive
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23

Pourni, Grammeni-Eleni. "The Depiction of the Loser Teenager in the Film and Television Adaptations of John Green’s Young Adult Novels." Journal of Literary Education, no. 6 (December 31, 2022): 167. http://dx.doi.org/10.7203/jle.6.25373.

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In the last few decades, the teen movie genre has left behind the genre of light comedies or farce comedies and deals with more substantial and fundamental issues concerning teenagers and young adults. In the literary universe of John Green, which has been the basis and source of inspiration for the corresponding film and television adaptations, the form of the good-natured and well-intentioned loser teenager dominates. The loser teenager watches with longing and anxiety the lives of his popular peers, longing to be given a chance to join their company. when this finally happens, he finds out
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24

MacDonald, Tanis. "“Out by Sixteen”: Queer(ed) Girls in Ginger Snaps." Jeunesse: Young People, Texts, Cultures 3, no. 1 (2011): 58–79. http://dx.doi.org/10.3138/jeunesse.3.1.58.

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The Canadian cult-horror film Ginger Snaps (2000) was marketed as a wry and wrenching adolescent female version of B-movie transformation narratives, conflating puberty with monstrosity while exposing how excesses of representation alter the effect of gender as a technology of feminine identity. Ginger Snaps complicates horror-film convention by emphasizing the intense relationship between the Fitzgerald sisters, suggesting that lesbian desire is part of the sisters’ resistance to normativity, best revealed by their blood pact to be “out by sixteen or dead in the scene.” By matching the hetero
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25

Wendri, Nyoman, Putu Ekayani Sri Tussniari, and Hery Suyanto. "Characterization of Salacca Zalacca for Dye Sensitized Solar Cell (DSSC)." BULETIN FISIKA 20, no. 2 (2019): 22. http://dx.doi.org/10.24843/bf.2019.v20.i02.p04.

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Snake fruit (salacca zalacca) characterization for Dye Sensitized Solar Cell (DSSC) material was conducted using Fourier transform Infrared (FTIR) and Principle Component Analysis (PCA) method. Dragon fruit and mangos teen were used as validator since they are containing anthocyanin. Data shows that snake fruit and mangos teen are in one cluster. Therefore, snake fruit can be used as DSSC material. DSSC fabrication using sandwich method that contains counter electrode, electrolyte and working electrode. The working electrode was made of thin film of titanium dioxide (TiO2) into indium Tin Oxid
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26

Adeline, Fionna, and Sharon Schumacher. "The Effect of Media Violence on Early Teens’ Hostility." ICONIET PROCEEDING 2, no. 4 (2019): 253–59. http://dx.doi.org/10.33555/iconiet.v2i4.43.

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As violence shown in films steadily increases, notably in those targeted towards the teenage audience, this research looks into its effect specifically by observing the change in audiences’ hostility. An experiment was done on 125 Indonesian secondary school students to observe the effect of exposure to media violence on their feelings of hostility, measured using Anderson’s State Hostility Scale (1995, 2012). Students’ hostility scores were measured beforeand after being exposed to an assigned clip; either a violent clip, or an equally exciting but non-violent clip as a control group. Results
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27

Shary, Timothy. "The Teen Film and its Methods of Study: A Book Review Essay." Journal of Popular Film and Television 25, no. 1 (1997): 38–45. http://dx.doi.org/10.1080/01956059709602748.

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28

Wahl, Alexander. "The global metastereotyping of Hollywood ‘dudes’." Pragmatics and Society 1, no. 2 (2010): 209–33. http://dx.doi.org/10.1075/ps.1.2.02wah.

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This study investigates the phenomenon of metastereotyping — that is, the linguistic parody of stereotypic mediatized personas. The analysis draws on data from the 2008 reality television program Big Brother Africa 3, in which contestants ironically perform the lead characters from a 1989 Hollywood teen comedy film who exemplify a highly mediatized California male slacker youth stereotype, the ‘dude’ persona. By examining the linguistic and embodied features deployed by the reality show contestants in their stylization of the film characters, the article shows how metastereotyping involves for
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Roberts, Lisa-Jane. "Moulding Malvolio into Modern Adaptations of “Twelfth Night”." Journal of English Studies 17 (December 18, 2019): 299. http://dx.doi.org/10.18172/jes.3553.

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This paper explores how target-audience expectations and generic limitations on modern, mass-culture adaptations of Shakespeare’s comedy Twelfth Night mould the characterization of his officious steward Malvolio, and dictate the degree of centrality that his subplot holds in each different version. A trans-generic application of Shlomith Rimmon-Kenan’s work on characterization will expose how the character of Malvolio is constructed and presented, first in the original play and then in three modern adaptations of Twelfth Night into different popular genres. The works selected for contrastive a
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Mascarello, Fernando. "O pampa vai virar mar." Significação: Revista de Cultura Audiovisual 30, no. 20 (2003): 221–42. http://dx.doi.org/10.11606/issn.2316-7114.sig.2003.159047.

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Houve uma Vez Dois Verdes, o longa-metragem de estreia de Jorge Furtado (2002), atualiza a recorrente associa^ao tematica litoral/adolescencia ou juventude no cinema urbano gaiicho. Esta associagao, em filmes como Deu Pra Ti Anos 70 (Nelson Nadotti e Giba Assis Brasil, 1981) e Inverno (Carlos Gerbase, 1982), atraves da representagao do litoral como um espa^o transicional tipico da adolescencia, conjugada a adesao do cinema urbano gaiicho a um projeto de autonomizagao da identidade gaiicha urbana, constroi um sentido de "fuga ao pampa" ou a identidade gaiicha rural entao dominante. O filme de F
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García-Periago, Rosa M. "More than an Indian teen shrew: Postcolonialism and feminism in Isi Life Mein." Sederi, no. 26 (2016): 109–27. http://dx.doi.org/10.34136/sederi.2016.5.

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This essay explores a Bollywood movie entitled Isi Life Mein (dir. Vidhi Kasliwal, 2010), which exploits The Taming of the Shrew as a play-within-the-film for the first time in Bollywood, and even as an intertext on some occasions. Although apparently a mere teen movie, this article sheds light on the importance of the Indian location, which invites postcolonial readings of the text. From a postcolonial perspective, it is the aim of this essay to rethink how The Taming of the Shrew is caught up and shaped in another culture. The film experiments with, and offers a parody of Shakespeare and his
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32

Elizabeth Klett. "Reviving Viola: Comic and Tragic Teen Film Adaptations of Twelfth Night." Shakespeare Bulletin 26, no. 2 (2008): 69–87. http://dx.doi.org/10.1353/shb.0.0004.

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Muslimin, Khoirul. "PERSEPSI SISWA SMK AZ ZAHRA MLONGGO JEPARA TENTANG ASPEK PORNOGRAFI DALAM FILM DILAN 1991." An-Nida : Jurnal Komunikasi Islam 13, no. 2 (2021): 115–22. http://dx.doi.org/10.34001/an-nida.v13i2.2639.

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The film Dilan 1991 is a sequel to the previous film Dilan 1990 with the highest number of viewers in 2019. This teen romance drama genre film was adopted from the novel entitled Dilan: Dia is Dilanku in 1991 by Pidi Baiq. This romance nuanced film makes pornographic elements very thick in it. This study was conducted to find out how the students of SMK Az Zahra Mlonggo's perception of the pornographic aspect of the 1991 film Dilan. This study used a qualitative method with a focus group discussion approach. Then analyzed using content analysis method. The data validity technique was carried o
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Isfandyari‐Moghaddam, Alireza. "Visual Media for Teens: Creating and Using a Teen‐centered Film Collection20101Jane Halsall and R. William Edminster. Visual Media for Teens: Creating and Using a Teen‐centered Film Collection. Santa Barbara, CA: Libraries Unlimited 2009. 156 pp., ISBN: 978‐1‐59158‐544 US$40.00 (soft cover)." Electronic Library 28, no. 3 (2010): 463–646. http://dx.doi.org/10.1108/02640471011052034.

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Nelson, Elissa H. "The New Old Face of a Genre: The Franchise Teen Film as Industry Strategy." Cinema Journal 57, no. 1 (2017): 125–32. http://dx.doi.org/10.1353/cj.2017.0058.

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Perry, Leah. "Queering Teen Culture: All-American Boys and Same-Sex Desire in Film and Television." Journal of Popular Culture 40, no. 5 (2007): 898–900. http://dx.doi.org/10.1111/j.1540-5931.2007.00470.x.

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Jenkins, Tricia. ""Potential Lesbians at Two O'Clock": The Heterosexualization of Lesbianism in the Recent Teen Film." Journal of Popular Culture 38, no. 3 (2005): 491–504. http://dx.doi.org/10.1111/j.0022-3840.2005.00125.x.

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Romesburg, Don. "Queering Teen Culture: All-American Boys and Same-Sex Desire in Film and Television." Archives of Sexual Behavior 40, no. 5 (2011): 1061–62. http://dx.doi.org/10.1007/s10508-011-9827-0.

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39

Murcinkova, Zuzana, and Karol Vasilko. "Decorating Cutting as New Approach to Machine Tool System Dynamics." Technological Engineering 11, no. 1 (2014): 43–46. http://dx.doi.org/10.2478/teen-2014-0009.

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Abstract The paper presents so called decorating cutting focused on turning. It uses self-excited vibrations that are typical for turning and other types of cutting operations. The decorating turning do not utilize setting of unstable technological conditions of cutting process but it actively use the acting of cutting force on machine tool without generation of unwanted chatter vibrations. The special tool fixture was developed to utilize self-excited vibrations invoked by periodical changeability of cutting force by cutting process itself. Thus the typical texture of surface appears. The var
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Viswanath, Tharini. "‘Sorry, I Don’t Speak Bear’ Voice, Agency, and the Mother-Daughter Relationship in Disney-Pixar’s Brave." Papers: Explorations into Children's Literature 25, no. 1 (2017): 1–22. http://dx.doi.org/10.21153/pecl2017vol25no1art1092.

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This paper draws on Kristeva’s theories on abjection, studies on motherhood, and children’s literature scholarship to better understand the relationship between Merida, the adolescent protagonist, and her mother, Elinor, in the Disney-Pixar film Brave. At first glance, it seems as though Merida has a strong voice, and by standing up to her parents and refusing to go through with the betrothal they have arranged, it does seem as if she has agency and an established subject position as a headstrong tomboy. During the course of the film, however, Merida feels the need to silence her mother (by tu
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Paterson, Ronan. "Additional Dialogue by… Versions of Shakespeare in the World’s Multiplexes." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (2013): 53–69. http://dx.doi.org/10.2478/mstap-2013-0005.

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William Shakespeare has been part of the cinema since 1899. In the twentieth century almost a thousand films in some way based upon his plays were made, but the vast majority of those which sought to faithfully present his plays to the cinema audience failed at the box office. Since the start of the twenty-first century only one English language film using Shakespeare’s text has made a profit, yet at the same time Shakespeare has become a popular source for adaptations into other genres. This essay examines the reception of a number of adaptations as gangster films, teen comedies, musicals and
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Callister, Mark, Sarah Marie Coyne, Tom Robinson, et al. "“Three sheets to the wind”: Substance use in teen-centered film from 1980 to 2007." Addiction Research & Theory 20, no. 1 (2011): 30–41. http://dx.doi.org/10.3109/16066359.2011.552818.

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Regester. "Monstrous Mother, Incestuous Father, and Terrorized Teen: Reading Precious as a Horror Film." Journal of Film and Video 67, no. 1 (2015): 30. http://dx.doi.org/10.5406/jfilmvideo.67.1.0030.

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IM INJAE. "Image of ‘student’ in pop culture in 1970s -Focus on Student Magazine, high-teen film-." Contemporary Film Studies 14, no. 3 (2018): 89–113. http://dx.doi.org/10.15751/cofis.2018.14.3.89.

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Sonnenberg-Schrank, Björn. "My Most Prized Possession, an American Obsession. Virginity and the Sexual Politics of the American Teen Film." Excursions Journal 4, no. 2 (2020): 124–42. http://dx.doi.org/10.20919/exs.4.2013.200.

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American "teen films" and TV series can be regarded as mass consumerculture's version of literature's "bildungsroman". Their main trope isthe adolescent individual's search for identity and independence,narrated via the personal and social initiation associated with acoming-of-age experience, often ignited and/or epitomized by a sexualinitiation, most commonly in the form of virginity loss. Thus, manyteen films are negotiations of purity, chastity, and virginity—withquite mixed messages.With recourses to Jean Paul Sartre, Barrington Moore Jr., MichelFoucault, Sigmund Freud, Laura M. Carpenter
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Harrod, Mary. "Channeling globalism: Canal+ as transnational French genre film producer." Contemporary French Civilization: Volume 46, Issue 3 46, no. 3 (2021): 285–307. http://dx.doi.org/10.3828/cfc.2021.18.

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This article examines Canal+’s contribution to the recent or contemporary consolidation of three genres traditionally excluded from the French filmmaking landscape: romantic comedies, horror films, and teen movies. The many films from these emergent French genres funded and in frequent cases also more indirectly supported by Canal+ speak to the organization’s status as a transnational, transmedia production entity. Moreover, analyzing the new French genre trends in whose burgeoning the company has been instrumental suggests the difficulties of unpicking geo-cultural allegiances and influences
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Nowell, Richard. ""There's More Than One Way to Lose Your Heart": The American Film Industry, Early Teen Slasher Films, and Female Youth." Cinema Journal 51, no. 1 (2011): 115–40. http://dx.doi.org/10.1353/cj.2011.0073.

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48

Hidayati, Niswatin Nurul. "Language Variations of Teenagers: A Case Study in A Walk to Remember Film." An-Nas 3, no. 2 (2019): 17–26. http://dx.doi.org/10.36840/an-nas.v3i2.196.

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Research on the relationship between language and gender or language and age is included in the realm of sociolinguistic studies. In this research, the researcher focused on language variation in teen speech. Researchers used qualitative research methods with non-interactive data collection methods. From the findings and analysis, the researcher concluded that the form of utterances used by the teenagers were different depending on their gender. The depth of this difference was seen in the frequency of slang vocabulary usage and the vernacular form of language that was more often used by young
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Listyani, Refti Handini, FX Sri Sadewo, Mohammad Reevany Bustami, Moh Mudzakkir, and Emy Susanti. "Indonesian Teen Romanticism: The Underlying Ideology of “Film Television” (FTV) During Covid-19 Pandemic from Gender Perspective." Journal of Society and Media 5, no. 1 (2021): 129. http://dx.doi.org/10.26740/jsm.v5n1.p129-150.

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Abstract:
This research examines the underlying ideology(s) of a TV program called ‘Film Television’ (FTV). This TV program is on during the Covid-19 Pandemic. Specifically, using framing analysis and gender perspective approach as a methodology, this research analyses the ways in which these ideologies developed in FTV. Six prime samples of FTV were chosen, namely Laki-laki Buaya Darat, Cowok Gue IQ-nya Ancur Banget, Cowok Gue Pendek Bener, Pacar honorer, Ganteng-ganteng Medit, Pacar Gue Brondong. The findings reveal a thrust of twin-contrarian thrust of messaging. There are two embedded ideologies und
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Dalecki, Linden. "Maverick Entertainment presents “marketing mimicry”: targeting the urban‐American teen film‐viewer via DVD and direct‐download." Young Consumers 13, no. 4 (2012): 367–80. http://dx.doi.org/10.1108/17473611211282617.

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