Youth on Screen

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David Buckingham. Youth on Screen

Table of Contents

Guide

Pages

Youth on Screen: Representing Young People in Film and Television

Copyright page

Acknowledgements

1 Introduction

Troubling ‘youth’ and ‘screens’

Aims and focus of the book

Representing age

Notes

2 Troubling Teenagers: How Movies Constructed the Juvenile Delinquent

Constructing delinquency

Delinquency and the movies

Screening delinquency

Debating juvenile delinquency: the UK

Violent Playground

Conclusion

Notes

3 Dreamboats, Boybands and the Perils of Showbiz: The Rise and Fall of the Pop Film

Beyond the binaries

Elvis on film, 1956–8

Cliff Richard: a clean teen?

Constructing ‘The Beatles’

Catch Us If You Can

The Monkees in Head

Conclusion

Notes

4 Reeling in the Years: Retrospect and Nostalgia in Movies about Youth

American Graffiti

Badlands

Travelling in time

Peggy Sue Got Married

Pleasantville

Dazed and Confused: beyond nostalgia

Everybody Wants Some!!

Conclusion

Notes

5 Gender Trouble: Cinema and the Mystery of Adolescent Girlhood

Adolescence, girlhood and the Gothic

Picnic at Hanging Rock

Heavenly Creatures

The Virgin Suicides

The Falling

The Fits

Conclusion

Notes

6 This is England: Growing Up in Thatcher’s Britain

Looking back to the 1980s

Growing up on telly

Representation: art cinema and social realism

Representing class

Conclusion

Notes

7 Skins and the Impossibility of Youth Television

The impossibility of ‘youth television’?

Looking yonder

The trouble with authenticity

Youth at the centre

Beyond moralizing

Realism, comedy and melodrama

Managing the formula

Exploiting ‘interactivity’

Managing fandom

Conclusion

Notes

8 Conclusion: Histories and Futures

Reading history from film and television

How film and television read history

‘Coming of age’ as history

Media histories, media futures

Conclusion

Notes

Further Reading

TV and Filmography

References

Index

POLITY END USER LICENSE AGREEMENT

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DAVID BUCKINGHAM

I would again like to thank my editors at Polity, Mary Savigar, Ellen MacDonald-Kramer and John B. Thompson, for their continuing encouragement and careful support.

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The policeman is interrupted before he can finish, but the onus is clearly placed on dedicated teachers to take the place of parents. The issue is not so much poverty as the failure of the family.

If Blackboard Jungle refuses any explanation based on social class (these things happen on ‘both sides of the tracks’), it does explore the question of race. One of Dadier’s first moves in attempting to win the control of his class is to seek the support of Gregory Miller. If Artie West is the ‘bad delinquent’, who ultimately proves to be beyond redemption, Miller is the ‘good delinquent’, who can be saved. Being black, Dadier tells him, is not an excuse for failing in school; and, right at the end of the film, Miller responds to Dadier’s encouragement by agreeing to stay on at school for a further year. However, Dadier runs into trouble when he uses racial slurs in an attempt to counter the prejudice and abuse he sees happening among his class and receives a strong lecture from the school principal. Although he is not guilty in this case, he later gets into a confrontation with Miller and unthinkingly calls him ‘You black –’, only to be consumed with remorse. In a particularly striking scene, we see him watching Miller and his black friends as they sing a version of the spiritual ‘Go Down Moses’ in preparation for the school’s Christmas concert. Significantly, Miller urges them not to syncopate (or ‘jazz up’) the melody, implying the need for a ‘respectable’ version of African-American culture. In all these respects, the film’s treatment of race is decidedly liberal, although it needs to be understood in its time: the Brown v. Board of Education decision that ended racial segregation in US schools took place the year before the film’s release and was still being massively resisted in many Southern states.

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