By Timothy Shary
A truly dull e-book that appears at motion pictures within the 80's and 90's. primarily, he descibes videos and what they it appears suggest.
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Additional resources for Generation Multiplex: The Image of Youth in Contemporary American Cinema
1989), The Unbelievable Truth (1990), Hackers (1995), and 10 Things I Hate About You (1999)—much effort is made to make the characters appear attractive and stylish and thus avoid stereotypically nerdish codings, although the intimidation of female intelligence to male characters is alleviated though other means, such as depicting the girls as poor, shy, neurotic, or even feminist. Nerds tend to come from poorer class backgrounds than their other school counterparts (the most dramatic exception is in Class Act).
While I integrate these writings into my analyses, I do not believe that it is necessary or appropriate to focus on any speciﬁc authors’ theoretical arguments about youth ﬁlms, youth culture, or ﬁlm reception in general. My approach is meant to be pluralistic and inclusive, considering as many pertinent perspectives about these ﬁlms as possible. For instance, many commercial developments at the end of the twentieth century—multiplex theaters, the availability of ﬁlms on video, trends in youth fashion—not only have affected the output of youth ﬁlms but also have changed the representations of youth within ﬁlms.
His resistance to romance and to changing himself to look like or act like the others—something the rest do—indicates that he is the least conformist of the bunch. As other school ﬁlms show, nerds must either aspire to a homogeneity with their peers to gain acceptance or endure a compromised acceptance that consequently preserves their individuality. Many nerd stories in the ’80s took a somewhat endearing perspective on their subjects—such as Class (1983), Lucas (1986), Can’t Buy Me Love (1987), Three O’Clock High (1987), and The Beat (1988)—but such sweetened portrayals became rare by the ’90s, as the torment of teen intellect began to take more serious turns in the late-’80s ﬁlms.
Generation Multiplex: The Image of Youth in Contemporary American Cinema by Timothy Shary