Contemporary American Cinema Research Articles

Review of Generation Multiplex: The Image of Youth in Contemporary American Cinema by Timothy Shary

Book Review| January 01 2004 Review of Generation Multiplex: The Image of Youth in Contemporary American Cinema by Timothy Shary Peter Lev Peter Lev Peter Lev is the author of American Films of the 1970s. He teaches at Towson University. Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (2004) 57 (3): 64–65. https://doi.org/10.1525/fq.2004.57.3.64 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Peter Lev; Review of Generation Multiplex: The Image of Youth in Contemporary American Cinema by Timothy Shary. Film Quarterly 1 January 2004; 57 (3): 64–65. doi: https://doi.org/10.1525/fq.2004.57.3.64 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFilm Quarterly Search This content is only available via PDF. © 2004 by The Regents of the University of California. All rights reserved.2004 Article PDF first page preview Close Modal You do not currently have access to this content.

Mainstreaming the Money Shot: Reflections on the Representation of Ejaculation in Contemporary American Cinema

This paper was an extended version of a conference paper first delivered at a three day international conference 'Men's Bodies', University of Nottingham, 2001. The collection was favourably reviewed in the Journal Of European Studies Vol 36 2006: 90-91 in which Tuck's piece was described as 'particularly engaging'.

Review: Studying Contemporary American Film: A Guide to Movie Analysis

Review: Studying Contemporary American Film: A Guide to Movie Analysis

Generation Multiplex: The Image of Youth in Contemporary American Cinema (review)

Generation Multiplex: The Image of Youth in Contemporary American Cinema (review)

Generation multiplex: the image of youth in contemporary American cinema

Foreword by David Considine Preface Acknowledgments Chapter 1. Introduction: The Cinematic Image of Youth Social Representation and Genre Analysis The Study of Youth, In and Out of Movies Chapter 2. Youth in School: Academics and Attitude Trends in the Subgenre Schoolkids Delinquents and Their Avenues of Anger Resisting Rebels The Labor of Being Popular The Sensitive Athlete Conclusion Chapter 3. Delinquent Youth: Having Fun, On the Loose, In Trouble Trends in the Subgenre Delinquent Styles Deviant Dancing Natural Encounters Patriotic Purpose Tough Girls The African American Crime Drama Conclusion Chapter 4. The Youth Horror Film: Slashers and the Supernatural Historical Context of the Youth Horror Subgenre Trends in the Subgenre Research on the Youth Horror Film Styles of the Youth Horror Film The Slasher/Stalker Film Supernatural Movies Conclusion Chapter 5. Youth and Science: Technology, Computers, Games The Three Dimensions Simple Science Games and Computers Conclusion Chapter 6. Youth in Love and Having Sex Contexts and Trends Patterns and Images Youth in Love Youth Having Sex Conclusion Chapter 7. Conclusion: Youth Cinema at the Millennium Appendix A. Filmography of Youth Films, 1980 -2001 Appendix B. Subjective Superlative Lists Notes Bibliography Index

Hoodoo Economics: White Men's Work and Black Men's Magic in Contemporary American Film

Hoodoo Economics: White Men's Work and Black Men's Magic in Contemporary American Film

Intensified Continuity Visual Style in Contemporary American Film

Do today's movies, filled with dazzling spectacle and often less-than-dazzling plotting and characterization,constitute a break with Hollywood's past? This essay argues that recent films rely upon many principles of traditional"continuity filming," but that there are nonetheless some important changes. In particular, certain techniques,such as fast cutting and free-ranging camera movement, have become more forceful and flamboyant. These techniques have blended into an approach to visual storytelling which we can call "intensified continuity." By analyzing films and reflecting upon comments gleaned from filmmaking professionals, the essay suggests where the new style comes from and how it affects viewers.

Psycho paths: tracking the serial killer through contemporary American film and fiction

This is a broad overview of the evolving serial killer genre in the two media most responsible for its popularity: literature and cinema of the 1980s and 1990s. fictional serial killer, with a motiveless, highly individualized modus operandi, is the latest manifestation of the multiple murderers and homicidal maniacs that haunt literature and, particularly, visual media such as cinema and television. author theorizes that the serial killer genre results from a combination of earlier genre depictions of multiple murderers, inherited Gothic storytelling conventions, and threatening folkloric figures reworked over the years into a contemporary mythology of violence. Updated and repackaged for mass consumption, the Gothic villains, the monsters, the vampires and the werewolves of the past have evolved into the fictional serial killer, who clearly reflects cultural anxieties at the start of the 21st century. Citing numerous sources, the author argues that serial killers' recent popularity as genre monsters owes much to their pliability to any number of authorial ideological agendas from both the left and the right ends of the political spectrum. Serial killers in fiction are a kind of debased and traumatized visionaries, whose murders privately and publicly reempower them with a pseudo-divine aura in the contemporary political moment. fascination with serial killer narratives can thus be explained as the latest manifestation of the ongoing human fascination with tales of gruesome murders and mythic villains finding a receptive audience in a nation galvanized by the increasingly apocalyptic tension between the extremist philosophies of both the New Right and the anti-New Right. Faced with a blizzard of works of varying quality dealing with the serial killer, Simpson has ruled out the catalogue approach in this study in favour of an in-depth analysis of the best work in the genre. He has chosen novels and films that have at least some degree of public name-recognition or notoriety, including: Red Dragon and The Silence of the Lambs, by Thomas Harris; Manhunter, directed by Michael Mann; Henry: Portrait of a Serial Killer, directed by John McNaughton Seven, directed by David Fincher; Natural Born Killers, directed by Oliver Stone; Zombie, by Joyce Caol Oates; and American Psycho, by Bret Easton Ellis.

Mean streets and raging bulls: the legacy of film noir in contemporary American cinema

Classic film noir was Hollywood's dark cinema of crime and corruption; a genre underpinned by a tone of existential cynicism which stripped bare the myth of the American Dream and offered a bleak, nightmarish vision of a fragmented society that rhymed with many of the social realities of forties and fifties America. Mean Streets and Raging Bulls explores how, since its apparent demise in the late fifties, the noir genre has been revitalized during the post-studio era. The book is divided into two sections. In the first, the evolution of film noir is contextualized in relation to both American cinema's industrial transformation and the post-Depression history of the United States. In the second, the evolution of neo-noir and its relation to classic film noir is illustrated by detailed reference to representative texts including Chinatown (Roman Polanski, 1974), Night Moves (Arthur Penn, 1975), Taxi Driver (Martin Scorsese, 1976), Blood Simple (Joel and Ethan Coen, 1984), After Hours (Martin Scorsese, 1985), Sea of Love (Harold Becker, 1989), Resevoir Dogs (Quentin Tarantino, 1992), and Romeo is Bleeding (Peter Medak, 1994).

Samplers and Copycats: The Cultural Implications of the Postmodern Slasher in Contemporary American Film

Midway through Jon Amiel's Copycat (1995), the copycat killer transcribes the lyrics to Sting's “Murder by Numbers” on the back of a note he has left for police. Listeners familiar with the song will know that the composition he has chosen to appropriate is one in which Sting playfully addresses Western society's growing obsession with homicide, offering, among other things, advice on how “to turn a murder into art.”

Production design in the contemporary American film: a critical study of 23 movies and their designers

Production design in the contemporary American film: a critical study of 23 movies and their designers

Eating Kosher, Staying Closer: Families and Meals in Contemporary Jewish American Cinema

Eating Kosher, Staying Closer: Families and Meals in Contemporary Jewish American Cinema

Fielding Our Dreams: Rounding Third in Dyersville

While contemporary American sport films seem to be targeting the adolescent audience for a message of empowerment, a smaller group of sport films seems to have reached out to the adult audience with the “preposterous” claim that sport allows us opportunities for personal redemption. Through interviews conducted at the Dyersville, Iowa, site of Fields of Dreams, a critical examination of several contemporary adult baseball films, and analysis of the Pete Rose saga, I hope to show that the opportunity for personal redemption is not only possible but in fact is a primary function of all sport. When asked in Field of Dreams by Shoeless Joe Jackson, “Is this heaven?” Ray Kinsella responds, “No, it’s Iowa.” I maintain that the predominant mythos in contemporary sport is that, indeed, it is heaven.

Con Men and a Conned Society: Religion in Contemporary American Cinema

AbstractExperimental cinema aside, our culturally typical films are all visual stories. To discover a film's religious meaning, we must do more than interpret dialogue; the cultural context of the film and its overall structure as visual story must be analyzed. American culture has characteristically explored the religious question by exposing the demons in our lives. Thus, our cinema at its recent best has—in the mode of visual parable—been subverting the facile optimism of the American dream by revealing the evil within us and our institutions. It has done this most effectively and artistically, not in its blatant presentations of the demon as persona, but rather through the portrayal of human analogues of the demonic: the satanic heart in man and the pervasive presence of the con man in society.