This book brings theory from popular music studies to an examination of identity and agency in youth films while building on, and complementing, film studies literature concerned with genre, identity, and representation.
This book brings theory from popular music studies to an examination of identity and agency in youth films while building on, and complementing, film studies literature concerned with genre, identity, and representation.
Tim McNelis is University Teacher in the Communication and Media Department at the University of Liverpool, UK
Inhaltsangabe
Introduction: Youth Films, Identity, and Musical Agency Part I: She's a Rebel?: Girls, Guitars, and Agency Introduction 1. The Girl Can't Have It: Restricted Musical Agency in 10 Things I Hate About You and Love Don't Cost a Thing 2. Queer Agency and Reappropriation of the "Technophallus" in All Over Me 3. Silent Punk and Audible Folk: Musical Sleight-of-Hand in Juno Part II: Listening to the Other: Cultural Borrowing and Critical Reflection Introduction 4. Consumption, Authenticity, and Identity Experimentation in Ghost World 5. "I didn't move to Bosnia": Critical Cultural Immersion in Save the Last Dance 6. Cheerleaders, Bullies, and Nerds: Intersections of White Stereotypes and Black Music in Bring it On, Mean Creek, and Napoleon Dynamite Part III: Unheard Ethnicities: Musical Construction of Ethnic Identity and Agency Introduction 7. 'Old World' Ethnicity, Hybrid Identity, and 'New World' Agency in Real Women Have Curves 8. "Neighbourhood is sure changing, isn't it?": Evolving Traditions and Complex Identities in Quinceañera 9. Reimagining the All-American Teenager: Inaudible Ethnicity and Agency from the Margins in Better Luck Tomorrow Conclusion: The Continuing Relevance of Film Music to Identity and Agency
Introduction: Youth Films, Identity, and Musical Agency Part I: She's a Rebel?: Girls, Guitars, and Agency Introduction 1. The Girl Can't Have It: Restricted Musical Agency in 10 Things I Hate About You and Love Don't Cost a Thing 2. Queer Agency and Reappropriation of the "Technophallus" in All Over Me 3. Silent Punk and Audible Folk: Musical Sleight-of-Hand in Juno Part II: Listening to the Other: Cultural Borrowing and Critical Reflection Introduction 4. Consumption, Authenticity, and Identity Experimentation in Ghost World 5. "I didn't move to Bosnia": Critical Cultural Immersion in Save the Last Dance 6. Cheerleaders, Bullies, and Nerds: Intersections of White Stereotypes and Black Music in Bring it On, Mean Creek, and Napoleon Dynamite Part III: Unheard Ethnicities: Musical Construction of Ethnic Identity and Agency Introduction 7. 'Old World' Ethnicity, Hybrid Identity, and 'New World' Agency in Real Women Have Curves 8. "Neighbourhood is sure changing, isn't it?": Evolving Traditions and Complex Identities in Quinceañera 9. Reimagining the All-American Teenager: Inaudible Ethnicity and Agency from the Margins in Better Luck Tomorrow Conclusion: The Continuing Relevance of Film Music to Identity and Agency
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