Generation Multiplex

When teenagers began hanging out at the mall in the early 1980s, the movies followed. Multiplex theaters offered teens a wide array of perspectives on the coming-of-age experience, as well as an escape into the alternative worlds of science fiction and horror. Youth films remained a popular and profitable genre through the 1990s, offering teens a place to reflect on their evolving identities from adolescence to adulthood while simultaneously shaping and maintaining those identities. Drawing examples from hundreds of popular and lesser-known youth-themed films, Timothy Shary here offers a comprehensive examination of the representation of teenagers in American cinema in the 1980s and 1990s. He focuses on five subgenres—school, delinquency, horror, science, and romance/sexuality—to explore how they represent teens and their concerns, how these representations change over time, and how youth movies both mirror and shape societal expectations and fears about teen identities and roles. He concludes that while some teen films continue to exploit various notions of youth sexuality and violence, most teen films of the past generation have shown an increasing diversity of adolescent experiences and have been sympathetic to the particular challenges that teens face.

Generation Multiplex (2002) was the first comprehensive study of the representation of teenagers in American cinema since David Considine's Cinema of Adolescence in 1985. This updated and expanded edition reaffirms the idea that films about youth constitute a legitimate genre worthy of study on its own terms. Identifying four distinct subgenres—school, delinquency, horror, and romance—Timothy Shary explores hundreds of representative films while offering in-depth discussion of movies that constitute key moments in the genre, including Fast Times at Ridgemont High, A Nightmare on Elm Street, The Breakfast Club, Say Anything . . . , Boyz N the Hood, Scream, American Pie, Napoleon Dynamite, Superbad, The Twilight Saga, and The Hunger Games. Analyzing developments in teen films since 2002, Shary covers such topics as the increasing availability of movies on demand, which has given teens greater access to both popular and lesser-seen films; the recent dominance of supernatural and fantasy films as a category within the genre; and how the ongoing commodification of teen images in media affects real-life issues such as school bullying, athletic development, sexual identity, and teenage pregnancy.

Drawing examples from hundreds of popular and lesser-known youth-themed films, Timothy Shary here offers a comprehensive examination of the representation of teenagers in American cinema in the 1980s and 1990s.

What haunts the city? Why is there so much pessimism in our urban lives? And how does this physical and psychological insecurity of relentless competition and a desire to succeed against all odds proliferate into cinema? Dark Fear, Eerie Cities analyses a wide array of films made in the early 21st century to offer a philosophical and psychoanalytical critique of the transforming cinematic imaginary—from the pre-1990s feudal family ideal to the contemporary construction of the new middle class’s subjectivities in the postcolonial context. Keeping in mind the effects of globalization, market liberalization, and the emergence of new forms of media and its consumption, the book proposes a theoretical engagement with cinematic transformations. Paunksnis presents an interdisciplinary study of a genre of cinema in which crime thrillers and horror films are aimed at answering some of the fundamental questions of our contemporary times.

This volume presents cutting-edge work in cross-cultural psychiatry by an international group of clinicians, researchers, and leaders in mental health policy. The book grew out of a recent lecture series at the Massachusetts General Hospital and features contributions from diverse fields including psychiatry, psychology, anthropology, social work, social medicine, and public policy. The first section highlights the implications of biological and cultural diversity for psychiatric diagnosis and treatment. Subsequent sections focus on psychotherapy in cross-cultural contexts and international mental health policy. Chapters examine a variety of patient populations, including Asian, African, and Hispanic Americans and populations in Europe and developing countries.

Fundamentals of Forensic DNA Typing is written with a broad viewpoint. It examines the methods of current forensic DNA typing, focusing on short tandem repeats (STRs). It encompasses current forensic DNA analysis methods, as well as biology, technology and genetic interpretation. This book reviews the methods of forensic DNA testing used in the first two decades since early 1980’s, and it offers perspectives on future trends in this field, including new genetic markers and new technologies. Furthermore, it explains the process of DNA testing from collection of samples through DNA extraction, DNA quantitation, DNA amplification, and statistical interpretation. The book also discusses DNA databases, which play an important role in law enforcement investigations. In addition, there is a discussion about ethical concerns in retaining DNA profiles and the issues involved when people use a database to search for close relatives. Students of forensic DNA analysis, forensic scientists, and members of the law enforcement and legal professions who want to know more about STR typing will find this book invaluable. Includes a glossary with over 400 terms for quick reference of unfamiliar terms as well as an acronym guide to decipher the DNA dialect Continues in the style of Forensic DNA Typing, 2e, with high-profile cases addressed in D.N.A.Boxes-- "Data, Notes & Applications" sections throughout Ancillaries include: instructor manual Web site, with tailored set of 1000+ PowerPoint slides (including figures), links to online training websites and a test bank with key

John M. Butler.

Many critics and fans refer to the 1990s as the decade that horror forgot, with few notable entries in the genre. Yet horror went mainstream in the ’90s by speaking to the anxieties of American youth during one of the country’s most prosperous eras. No longer were films made on low budgets and dependent on devotees for success. Horror found its way onto magazine covers, fashion ads and CD soundtrack covers. “Girl power” feminism and a growing distaste for consumerism defined an audience that both embraced and rejected the commercial appeal of these films. This in-depth study examines the youth subculture and politics of the era, focusing on such films as Buffy the Vampire Slayer (1992), Scream (1996), I Know What You Did Last Summer (1997), Idle Hands (1999) and Cherry Falls (2000).