 |
|
|
|
Having recently published two books on the subject, screen studies professor Tim Shary has established himself as a leading authority on the portrayal of young adults in American film. In addition to his research activities, Shary mentors students like Ian Peters who interned at a private archive in Worcester that contains hundreds of original movie posters. |
|
 |
Not Another Teen Movie: images of young people in film
Professor Tim Shary's research
What do movies like Ferris Bueller's Day Off, Buffy the Vampire Slayer, and Never Been Kissed have in common? They're examples of more than 1,000 recent films about teens, for teens. The number of youth movies has increased dramatically during the last two decades of the 20th century and constitutes a highly profitable source of income for the film industry.
Screen studies professor Timothy Shary knows that, as "cultural artifacts," films reveal a lot about the people who view them and the people who make them. In a recent book, Shary examines in depth how teenagers have been portrayed in youth movies during the years 1980-2001. (Shary defines a youth movie as a feature-length film about young people ages 12-20, targeted at a similarly-aged audience.)
Based on his research, Shary concludes that, on the whole, youth films from this time period have presented a generally positive picture of teens, and have come to portray them with increasing complexity. Young people are often depicted as subject to, and inexperienced with, intense emotions and desires, feelings that will prove dangerous if not brought under control.
Shary also notes these same movies tended to avoid issues that were, in reality, pretty important for many young people. Rarely were drug abuse, depression, divorce, pregnancy, STDs, the pressure to get into college, and teen involvement in activism or spirituality examined in any depth, if at all. Girls are less likely to have leading roles than boys, and non-stereotypical roles for ethnic minorities are still largely lacking.
Identifying youth movies
Shary's initial challenge was to identify and access films that fit the youth category. From a variety of sources he compiled a list of about 1,500 possible candidates, and then reviewed plot summaries to narrow this list to about 1000 films. From these, he was able to locate and view about 420 youth movies. Shary's familiarity with films and the film industry in general, and his reading of social and psychological studies of youth in the 20th century, helped him understand youth movies in a broader context.
Genre analysis
Shary used a technique called genre analysis to provide a framework for studying youth films. Shary suggests that the category (or genre) of youth movies in these two decades can be grouped into five broad subgenres, each of which images teens in the context of a particular background or theme:
Varsity Blues (1999)
(youth in school: academics and attitude)
The school setting is a place where young people spend a significant amount of time, learning social skills, defining their identities, and striving for social acceptance. Youths in these movies tend to be characterized as one of five "types": nerds, delinquents, resisting rebels, popular students, or sensitive athletes.
Important examples: The Breakfast Club, Fast Times at Ridgemont High, Heathers
The Wild Life (1984)
(delinquent youth having fun, on the loose, in trouble)
Films in this subgenre are concerned with rule-breaking and escape from parental control as a means of establishing personal identity. They imply that young people are "natural candidates for trouble," and, as society becomes more lenient, what is considered delinquent behavior becomes more extreme. In these films, delinquency, whether accidental or deliberate, encompasses a wide variety of behaviors and--frequently unexplored--motivations. Many of these films centered around what Shary describes as "deviant dancing," relationships with animals and nature, patriotic motivation, the "tough" girl, and African-American crime.
Important examples: Boyz N the Hood, Dangerous Minds, Footloose, Free Willy
The Beast Within (1982)
(the youth horror film: slashers and the supernatural)
This subgenre was very popular and profitable, especially in the early 1980s, during which time the emphasis on violence and sexuality increased. Many productions went directly to video in order to avoid ratings that would restrict audiences at movie theaters. The two most common story lines centered on young people being stalked and killed (the stalker/slasher movie), or on encounters with the supernatural. The more successful films spun off multiple sequels. Young people involved in sex or drugs were frequently targeted as victims, and horror movies carried the message, Shary suggests, that such is the fate of teens who defy parental authority. He notes that, in comparison with those in other youth subgenres, teens tended to be characterized more superficially. Shary also suggests that, because of the confusing emotional and physical changes associated adolescence, teens especially are fascinated with characters portrayed as monstrous or alien.
Important examples: Nightmare on Elm Street, Scream
My Science Project (1985)
(youth and science: technology, computers, games)
This is the smallest of the five subgenres, and usually features white males as the main characters. Explorations in science and technology provide them a context in which to exhibit some intellectual curiosity, flavored with a sense of mystery and awe. Plots frequently focus on teenage males who, through their knowledge of science or technology, challenge adult authority. Teens are allowed to demonstrate their competence, often to the greater good, but within certain constraints.
Important examples: SpaceCamp, WarGames, October Sky
Where the Heart Is (2001)
(youth in love and having sex)
For those grappling with adolesence, love and sex present new and confusing experiences that often serve as a means to establish personal identity. With the exception of a spate of early 1980s movies celebrating sex for fun, this subgenre evolved to incorporate cautionary messages that emphasized love as good and lust as bad. Shary suggests that this transition was a response to the appearance of AIDS/HIV and the soaring rate of teen pregnancy. He also notes the sexist overtones implicit in many such films, with women and girls filmed as objects for the male gaze. Plots often revolve around teens who, while internally confident in their love, must overcome exterior obstacles preventing its fulfillment.
Important examples: Risky Business, Sixteen Candles
Questions you might explore
How do youth films affect you? Do you think they present a realistic picture of young adults? Do you identify with images of teens on film or do those images make you feel like an outsider? Do these films cause adult viewers to appreciate youth more, or respect them less? Do teens want movies that treat their concerns more seriously?
|
|
|
Additional Resources
|
|
|
|
School: Clueless (1995)
Delin- quency: Footloose (1984)
Horror: A Nightmare on Elm Street (1984)
Science and Tech- nology: WarGames (1983)
Love and Sex: Say Anything... (1989)