In modern society, youths are encouraged to stand out and as a result, this ‘subculture population’ is ever increasing. Such mass media labelling has resulted in such a creation of these youth subcultures that evidentially exist and they have become mainstream. Changes that occur within society and mainstream however lead to the emergence of new subcultures whereby old ones change or disappear. Such transition is apparent between these two films, from the ‘mods’ within the 1960’s to ‘chavs’ and hoodies today. The two films are evidently driven by their dramatic media representations of youth subcultures. Quadrophenia was presented 30 years before the release of Harry Brown which focuses on the two main subcultures that existed, the ‘mods’ and the ‘rockers’. This representation uses unusual factors, such as the ‘mods’ fashion, music, drug use, sexual activity and language in an attempt to show how these represent their feelings of rebellion and anger (Hebidge, 1979). Harry Brown however is a more modern representation that also focuses on the subculture of gangs but more specifically the subculture of the ‘hoodies’ and ‘chavs’ which has emerged as a result of the decline of the ‘mods’. ‘Quadrophenia’ is a fictional film that highlights the important youth subcultures within the era of the 1960’s. The more specific youth subculture that is represented within the film is that of the gang of the ‘Mods’. As a gang, they deviate from the majority of the laws of society but instead of completely going against the norm they actively follow the latest trends within society such as the fashion where their social identity derives from. These youths think of themselves as a unified subculture that unite when their rivals, the ‘Rockers’, ... ... middle of paper ... ... into the audience. Both films seem to generally support and reproduce mainstream thinking today regarding youth subcultures. Such negativity regarding these youths and involvement within these subcultures generally became important within the 1960’s around the time of the release of ‘Quadrophenia’. The representation of the youth subculture social identity within Quadrophenia seems to surround their ‘style’ and interest whereas the social identity within Harry Brown seems to surround their social economic status and family backgrounds. Both films support some sociological and criminological theories put forward but as this essay has found, they also can challenge some of these. Also the specific media techniques used in the film are play a powerful role on reproducing and maintaining this negative mainstream thinking surrounding youths and youth subcultures.
The institutions, cultural forms, and economic powers were lifted as the term “teenager” itself was created to differentiate young men and women from adults (University of Toronto 145). The clothing trends, hairstyles, dances and even the language was different from that of adults (Armstrong et al, 134). Young men and women enjoyed dressing themselves with blue jeans, leather jackets,and pony tails for women, which stood as an identity for teenagers as it differentiated them from adults (Armstrong et al,135). This idea was amazing to acknowledge because a new type of people are emerging, and this added to Canadian multiculturalism and acceptance of the different types of people.The adults response to the wild nature of teenagers was that they were left shocked at first, yet later they acknowledged this act as just a phase during one’s life, they got used to this unique behaviour as time progressed (OC University 10). With the brutality of World War 2, the youth at the time were simply left neglected (OC University 10). Many believe that teens during the 1950’s were greatly influenced by being raised during a war generation (OC University 10). The youth distinguished themselves through shocking, yet enjoyable behaviour such as dance moves and their overall mindset on life. In addition, advertisers convinced teens to purchase certain products which
The figure of the ‘new lad’ has been a feature of popular culture in the United Kingdom, United States, and elsewhere since the early 1990s. In the book, The Trouble with Men: Masculinities in European and Hollywood Cinema, the author relates to Nick Hornby’s, a screenwriter and English novelist, thoughts on lads. He states that there are two versions of the modern male that have anxieties between the two main constructions of contemporary masculinity: New man and New Lad (Phil Powrie 2004, pp.84). By the start of the twentieth century, the word ‘masculinity’ was always associated with the word ‘crisis’; this is now portrayed in ‘lad flicks’. Masculinity is the central object of contemporary ‘lad flicks’; they combine different genre elements to focus specifically on difficulties that face contemporary masculinity. The male characters in these films...
Once you are born, you become a part of a larger group. You will grow up starting at a point in your parent's life and then over time they or even you will change the direction of your families subculture in whatever country you all live in. In America, People strive for the best. Not all get it, but somehow or someone will push that family into a situation where they can move up in the world. Over the years America has came to a point where most jobs pay well and mostly anyone can be considered a middle class resident. In America this is considered normal to the general public. Being normal and striving to be normal is the focus most people try to reach within their lifetimes. Normality is a subculture in itself.
Of all the 1980’s films, that can be described as “Eighties Teen Movies” (Thorburn, 1998) or “High School Movies” (Messner, 1998), those written and (with the exception of “Pretty In Pink” (1986) and “Some Kind of Wonderful”(1987)) directed by John Hughes were often seen to define the genre, even leading to the tag “John Hughes rites de passage movies” as a genre definition used in 1990s popular culture (such as in “Wayne’s World 2” (1994 dir. Stephen Surjik)). This term refers to the half dozen films made between 1984 and 1987; chronologically, “Sixteen Candles” (1984), “The Breakfast Club” (1985), “Weird Science” (1985), “Ferris Bueller's Day Off” (1986), “Pretty In Pink” (1986) and “Some Kind Of Wonderful” (1987) (the latter two being directed by Howard Deutch). For the purpose of this study, “Weird Science” and “Some Kind of Wonderful” shall be excluded; “Weird Science” since, unlike the other films, it is grounded in science fiction rather than reality and “Some Kind of Wonderful” as its characters are fractionally older and have lost the “innocence” key to the previous movies: as Bernstein states “the youthful naivete was missing and the diamond earring motif [a significant gift within the film] was no substitute” (Bernstein, 1997, p.89). Bernstein suggests that the decadent 1980s were like the 1950s, “an AIDS-free adventure playground with the promise of prosperity around every corner … our last age of innocence” (Bernstein, 1997, p.1). The films were very much a product of the time in terms of their production (“suddenly adolescent spending power dictated that Hollywood direct all its energies to fleshing out the fantasies of our friend, Mr. Dumb Horny 14 Year Old” Bernstein, 1997, p.4), their repetition (with the growth of video cassette recorders, cable and satellite with time to fill, and also the likes of MTV promoting the film’s soundtracks) and their ideologies.
The phenomena of ‘The Hippy’ came about in the 1960’s stemming from the youth - the teenagers of the baby boom generation. They were generally middle-class white teenagers between the ages of 16-26 who were tired of conforming and the restrictions put on them by society and their parents. Born out of an era of post-war austerity and rationing they were raised with very little b...
In the mid 1940’s a movement began, a generation of writers and poets would emerge; they were called the ‘Beat Generation’. The term was first used by Jack Kerouac while talking to fellow writer John C. Holmes, in 1948, Kerouac said to him, “So I guess you might say we’re the beat generation” (What’s Beat). The ‘Beat Generation’ was a movement that influenced the next generation of young rebellious minds of the 1950’s and ‘60’s through poets and writers who did not follow the rules of society. Growing up I have always liked the poets and writers of that time, the smooth cool way they talked, the slang they used, the goat-tees and black berets they wore and their cool and casual demeanor. The writers and poets of that generation were so passionate in what they wrote, and in their resistance to conformity. Not caring to be like everyone else, instead, they sought to be the individuals that they were, not bowing to what mainstream society thought they should be. Freedom of individuality was their passion. Although it wasn’t until I was older that I really understood what they meant and stood for, the movement had a deeper meaning; to be yourself.
Blair, M Elizabeth. "Commercialization of the Rap Music Youth Subculture." Rpt. in That’s the Joint!: The Hip-Hop Studies Reader. Ed. Murray Forman and Mark Anthony Neal. New York, NY: Routledge, 2004. 497-504. Print.
Coming-of-age is a process of maturation, realization, and transition. It has been approached in a number of ways throughout film history. At times, such approaches render similar as youth, no matter the decade, face the same developmental dilemmas and look to achieve the same life milestones. Other similar aspects include context like school, for instance, which has long been a favorite as well as important setting in youth-oriented films in which the character(s) come of age. However, contexts and approaches in depicting this theme have also differed over the years, understandably so as films must adapt to the political and social climate in which they are made. Nonetheless, films across time have de...
So began my two-year ethnography on the American rave subculture. The scene described above was my initiation into the underground subculture where rave kids, typically under twenty-one years old, are given secret invitations to attend private warehouse parties with dancing, drugs, and thousands of their closest friends. Because of my youthful and unorthodox appearance, I was invited to join the then-highly-exclusive underground scene and attended numerous raves in several major cities in North Carolina. Although my chosen subculture was not typically examined by academia, I conducted an academic ethnography of what Maton (1993) describes as a "group whose world views, values and practices diverge from mainstream North American and social science cultures" (747). As a result, I received three graduate credit hours for "supervised research in ethnography" and conducted what may be the only academic ethnography on raves.
This paper will have a detailed discussion on the shareholder theory of Milton Friedman and the stakeholder theory of Edward Freeman. Friedman argued that “neo-classical economic theory suggests that the purpose of the organisations is to make profits in their accountability to themselves and their shareholders and that only by doing so can business contribute to wealth for itself and society at large”. On the other hand, the theory of stakeholder suggests that the managers of an organisation do not only have the duty towards the firm’s shareholders; rather towards the individuals and constituencies who contribute to the company’s wealth, capacity and activities. These individuals or constituencies can be the shareholders, employees, customers, local community and the suppliers (Freeman 1984 pp. 409–421).
In Subculture Theory many theorists were interested in explaining delinquent gangs, which were believed to be the most common form of delinquency. The Subculture Theory was made up of several different theories that were all related to each other. Subculture theories provided explanations of how groups of individuals develop similar values and rationales for behavior (Williams & McKay, 2014). One theory within Subculture Theory was called the delinquent subculture theory by Albert Cohen. Another theory in the Subculture Theory was the differential opportunity formed by Richard Cloward and Lloyd Ohlin. The third theory by Walter Miller used direct observation of social groups in their natural setting. All four theories were interest in of the Subculture Theory could develop (Williams & Mckay, 2014). The last major theory was very different theories and was created by Wolfgang and Ferracuti. All these theories in the Subculture Theory were very different but were all related in some way.
The late seventies and early eighties saw the beginning emergence of the Goth subculture: a group of social misfits that appear to always find themselves on the outskirts of mainstream pop culture. It is a complex subculture with great depth and beauty where many of its citizens share a profound connection with the darker aesthetic, are predisposed to depression, and are often willing to explore interpersonal and sexual relationships with little inhibition or regard for societal norms.
A Single Youth Culture Youth culture and youth subcultures have been a subject of research since the early 1930s. It is most certainly true today that there is not one singular youth culture but a variety of different youth subcultures. The 90's can not be described as the same as the 60's or 70's or even the 80's. There are many reasons put forward by sociologists for this such as there are more styles available today, media influences us more and there is a higher disposable income per household to spend on fashions. This paper will explore the reasons behind the existence of youth cultures in previous years and why the same format has not occured in the 1990's.
The sixties was a decade of liberation and revolution, a time of great change and exciting exploration for the generations to come. It was a time of anti-war protests, free love, sit-ins, naked hippie chicks and mind-altering drugs. In big cities such as San Francisco, Los Angeles, New York and Paris, there was a passionate exchange of ideas, fiery protests against the Vietnam War, and a time for love, peace and equality. The coming together of like-minded people from around the world was spontaneous and unstoppable. This group of people, which included writers, musicians, thinkers and tokers, came to be known as the popular counterculture, better known as hippies. The dawning of the Age of Aquarius in the late sixties was more than just a musical orgy. It was a time of spiritual missions to fight for change and everything they believed in. Freedom, love, justice, equality and peace were at the very forefront of this movement (West, 2008). Some wore beads. Some had long hair. Some wore tie-dye and others wore turtle-neck sweaters. The Hippie generation was a wild bunch, to say the least, that opened the cookie jar of possibilities politically, sexually, spiritually and socially to forever be known as one of the most memorable social movements of all time (Hippie Generation, 2003).
There are individuals that live in fear of showing their true identity to the world because they simply fear that society won’t accept them for having a different sexual orientation. Society advocates that individuals should be able to be proud of who they are, but yet they judge homosexuals for being different. People are taught not to judge others based on their race or religion, so why do they still discriminate against homosexuals? The homosexual subculture is not accepted by society, looked down upon, and misjudged; however, they are human beings and deserve to be treated equally.