American Movies Spoiling Younger Generations

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  • Topic: Film, Teen drama, Teen film
  • Pages : 7 (2298 words )
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  • Published : April 6, 2013
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1.Introduction

This research is about American Movies spoiling our younger generations.I am about to take some of the American movies which come in the name of Teen movies and High School or College movies.Like major genres such as Action,Adventure,Horror,Comedy etc… these movies come under Comedy and Romance genres.These Comedy movies involves more reference to Sex along with crood and vulgar jokes.Generally movies containing adult jokes is not something to bother and they are provided with PG(parental guidance) or A certificate for that. But these teen comedies are fully packed with adult contents only.

In this Research I am taking some of these teen comedies and going to analyze what kind of damage they do to our youths in terms of giving unwanted Ideas which in turn reflects in Spoiling of our Culture itself.

History Of Teen Movies:

The teen movie came of age in 50s America, not long after the concept of the teenager was born. The idea of an intermediate stage between childhood and adulthood, with its own peculiar characteristics, was still new when Marlon Brando donned his biker jacket in The Wild One (1953). Changing social attitudes and a booming postwar economy fed into the emergence of teenagers. Middle-class parents who had weathered the Depression and the war wanted their children to have full educations, uninterrupted by work or military service. As a result, young people found themselves with larger allowances and more free time. The dramatic possibilities of this stage of life, marked by rebellion, angst and young love, quickly became evident to movie-makers. Rock'n'roll, the sound that defined 50s adolescence, figured strongly in the early teen movies. Rock Around the Clock (1956) was one of the first films to be marketed at teenagers to the exclusion of their elders. Its success induced Hollywood to exploit this new demographic. The Gidget movies and Beach Party (1963) developed a sure-fire formula in tune with the mood of the 60s, uniting music, comedy and romance with surf, Californian sun and skimpy bikinis. Much of the success of the teen movie lies in the fact that it crosses over so fluidly with other genres, and in the 70s, teens were subjected to horror (Carrie, 1976), romance (Love Story, 1970), comedy (National Lampoon's Animal House, 1978) and John Travolta musicals - Saturday Night Fever (1977) and Grease (1978). High-school comedies featuring the so-called Brat Pack were huge in the 80s - a prime example being The Breakfast Club (1985). None of these films would be complete without the high-school holy trinity: the bitchy cheerleader, the uber-jock footballer and the bespectacled nerd. Self-referentiality entered the classroom in the Nineties: the students in Scream (1996) knew the rules of teen slasher flicks but got slashed nonetheless. Classic texts were rejuvenated in Clueless (1996), an update of Jane Austen's Emma, Romeo + Juliet (1996), and 10 Things I Hate About You (1999), based on The Taming of the Shrew.

Review Of Literature:

In the final section of her 2002 book, Girls: Feminine Adolescence in Popular Culture and Cultural Theory (1), Catherine Driscoll begins exploring teen film as youth culture – or, more specifically, as girl culture. A compelling argument is put forth: teen films are particularly aligned with girl culture “because of the transience of their form and content – their romantic narratives of transformation mediated by overt commodification” (p. 217). The genre’s firm investment in girl culture – from fashion and makeup to girly pop music and an interest in romance narratives (p. 219) – renders it unworthy of critical attention. Additionally, despite of – or perhaps because of – teen film’s popularity and enormous commercial success, these films are usually considered “unremarkable” and therefore few critical readings exist (p. 216). But meanwhile, the rise in visibility of girl culture and girls as media...
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