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Popular Culture SummaryThe Nature of Popular Culture Associated with commercial products and paraphernalia: Demand develops and expands due to media, marketing and dissemination processes-Companies and corporations make a profit from popular culture by marketing and distributing commercial products and paraphernalia Includes items such as:?- Accessories – Perfumes – Clothing - Magazines - Films Gives people a way of identifying which a popular culture through their identity and culture Helps generate more money and create widespread familiarity to the popular cultureThe media (social media) plays a huge role in the commodification of popular culturesConverse:Grunge era, Kurt Cobain and the Ramones promotionCompany bought by Nike Inc in 2003Collaborations- Marvel, Simpsons, recent collaboration with OPI nails- introduced new form of shoe- All Star Slip Low, involves neon diverse coloursThe company expanded its market to include clothing, back packs, accessories (hats) Develops from a local to a global level: Experiences global acceptance with the progression and integration of technologies-After success on a small scale, popular culture moves onto to national level where consumers of similar cultural norms are able to guarantee the rising popularity of the product Can release its potential to the international market where the profit motive plays a huge role in the expansion The rate of development is now rapid due to technology and ready access to international media (news, live reality TV) Converse:The original Converse company was set up in Malden, Massachusetts in 1908?by Marquis Mills Converse, who called his new venture the Converse Rubber Shoe company. The company's first several years were profitable enough to keep the brand running, but it was the transition to producing basketball sneakers in 1917 that really shifted Converse from a simple rubber shoe to the cultural icon it is today. The kicks were given the name "Converse All Stars" as a nod to their athletic design.When basketball Hall of Fame alum Chuck Taylor?lent his name and signature to the trainers?in 1921, they became?the?basketball shoe.?Taylor travelled across America with the shoes and hosted basketball coaching clinics to promote it. In 1936, Taylor designed the white Chuck Taylor All Star high-top, the official shoe of Team USA for the first ever Olympic basketball championship. Basketball’s inclusion in the 1936 Olympics?only meant more publicity for the now-popular Converse All Stars, made all the more compelling by American's?win against Canada. The shoes became the official military training shoe in the US in WWII.The shoe was promoted on an international level; Olympics, James Dean, Grunge era of the 90sStarted as a practical sporting shoe, evolved into a fashion statement shoe as competitor shoes (Nike, Adidas) entered the market in the 1970s Achieves widespread consumer access: Broad access is assisted by media and communication technologies-Consumers of popular culture need to be able to access it effectively or the corporations that distribute it will not make a profitIn order to achieve widespread access, PC is often formulated by corporations to adept to a variety of societies so that it meets the needs of a global audienceFactors which can limit access to popular cultures include: ? AgeClass: socioeconomic classEthnicity: language and cultural barriers Location: rural, regional, remote, urbanInstitutional Power: government censorship and controlConverse:Basketball coaching clinics, early form of consumer accessCampaigns: “Shoes are boring, wear sneakers”Digital storesPromotion through media; West Side Story 1961, MTV, Grunge era (Kurt Cobain, Ramones, Nirvana)Modern promotion: Stranger Things (show is set in the 80s, reinforces their consistent pop culture presence), Doctor Who, Breakfast Club, Wayne’s WorldDuring the 70s, the shoes were $20, thus were considered relatively affordableForever Chuck 2017 campaign: Millie Bobbie Brown, Maisie Williams, Vince Staples. Chucks on Film/and LA Culture/in Music, exhibits the diversity of Converse in pop culture and its evolution, specifically its role in film, the grunge scene and ethnically diverse groups Is constantly changing and evolving: Experiences continuity and change As society changes and evolves, so does popular culture In order to satisfy consumers and maintain popularity, PCs must adapt regularly with society’s changing rends and preferences It is also in the producers interests to stimulate change, creating a ‘need’ to consume or ‘keep up’ to generate more profit. – Influences society while simultaneously society influences the popular culture- Converse:In the 1960s Converse introduced coloured shoesFollowing the 1970s decrease in engagement with Chucks, the brand relabelled itself by making their range of shoes predominately canvas, straying from the athletic imageRepurposed as a fashion showDiversity in style; high-top, mid and low-topEyelets being added n 1932for ventilationCollaborations- Marvel, Simpsons, recent collaboration with OPI nails- introduced new form of shoe- All Star Slip Low, involves neon diverse coloursConverse X- a global community of youth collaborating with converse. They are moving culture forward in their respective scenes and citiesSandal converse, platform converse, ‘dainty’ converse, one-star, classic chuckFocus study The creation and development of the popular culture: The origins of the popular culture-Themes present in the teen film genre existed before it officially established itself. With this being present in films from the Depression Era which explored the troubles of adolescence and hard-luck tales, such as those present in ‘Wild Boys of the Road’ (1933).However, the genre did not become established until the 1950s in America.Post-World War II, social attitudes altered in America and the booming post-war economy led to the emergence of both teenage culture and the film market. Middle-class parents who had weathered the Depression and the war wanted their children to have full educations, uninterrupted by work or military service. As a result, young people found themselves with larger allowances and more free time. The dramatic possibilities of this stage of life, marked by rebellion, angst and young love, quickly became evident to moviemakers. The musical genre of rock and roll was further emerging and became synonymous with a rebellious adolescence that was rejected by parents. The Wild One (1953) became the first film released to be firmly considered a teen film, thus launching and establishing the genre.1950sThe Wild One 1953Blackboard Jungle 1955Rebel Without a Cause 1955Jailhouse Rock1960sBeach Blanket Bingo 1964To Sir with Love 19671970sAmerican Graffiti 1973Animal House 1977Saturday Night Fever 1977Grease 19781980sPorky’s trilogy 1981, 1983, 1985The OutsidersRisky Business 1983Sixteen Candles1984The Breakfast Club 1985Ferris Beuller’s Day Off 1986Pretty in Pink 1986Weekend at Bernie’s 19891990sBill and Teds Bogus Journey 1991Hangin’ with the Home Boys 1991 Clueless 1995 Dangerous Minds 1995Black Rock 1998American Pie 1999 & 2001 Ten Things I Hate About You 19992000sAlmost Famous 2000Bend it Like Beckham 2002Freedom Writers 2007Mean Girls 2007Superbad 2007Juno 200717 Again 20092010sBook smart 2019To All the boys I’ve Loved Before 2018Sierra Burgess is a Loser 2018Love, Simon 2018The Fault in Our Stars 2014Paper Towns 2015Edge of Seventeen 2016Easy A 2010Lady Bird 2017Perks of Being a Wallflower 20121950sJailhouse Rock (1958) Richard ThorpePlot: Vince Everett a tough and aggressive man who is convicted of manslaughter whilst defending a woman when a brawl breaks out. In prison he discovers his passion for music but his cellmate whom becomes a mentor for Vince encourages his aggressive tendencies. Upon realise he discovers success in his music career, climbing his way through Hollywood the pressures of celebrity and power spur on his belligerent behaviours. Accompanied by a ‘love-story narrative’ where he charms damsels with his bad boy persona and new found fame and success.Themes:RebelliousHidden TalentWomanisingAttractiveChivalryComing of AgeDamselsAssociated ViolenceUnwarranted romantic advances Tough/Aggressive behaviourHyper-masculinity1960sTo Sir, With Love (1967) James ClavellPlot: Mark Thackeray, an immigrant to Britain from?British Guiana?via?California, applies for an engineering job, but learns that it will be a long time before a decision is made. He also applies for and is offered a teaching post at North Quay Secondary School in the tough?East End of London, which he accepts as an interim position. Thackeray learns from the staff most of the pupils have been rejected from other schools, and their antics drove their last teacher to resign. The students prank the teacher excessively and Thackery resorts to changing his teaching approach, saying that they will be treated as adults and can pick their own learning topic. Students chose to discuss what the pupils can expect when they leave school, including advice on how to apply for jobs. Fights occur and the students lose respect for Thackery. The film ends with prom where both the students and Thackery reconcile.Themes:Racial adversitiesRebellion- pranks, fighting etc.SupportBildungsroman- class utilised in order to prepare them for life post-graduation, the effect this has on the students later on demonstrates revelations and thus a coming of ageProm, used as form of reconciliation1970sGrease (1978) Randal KleiserIn the summer of 1958, local boy Danny Zuko and vacationing Sandy Olsson meet at the beach and fall in love. The film moves to the start of the seniors' term at Rydell High School. Danny is a member of the T-Birds?greaser?gang. The Pink Ladies, a clique of greaser girls, also arrive. After her parents decide not to return to Australia, Sandy enrols at Rydell and is befriended by Frenchy. Unaware of each other's presence at Rydell, Danny and Sandy tell their respective groups the accounts of events during the pair's brief romance, without initially mentioning the other's name. Sandy's version emphasizes the romance of the affair, while Danny's version is more sexual. When Sandy finally says Danny's name, Rizzo arranges a surprise reunion for the two, but Danny is forced to maintain his bad-boy attitude in front of his pals, upsetting Sandy, who storms off and begins dating Tom, a?jock. Frenchy invites the girls to a pyjama party, but Sandy falls ill from trying a cigarette, drinking and getting her ears pierced by Frenchy. Rizzo departs to have sex with Kenickie, during which his condom breaks. Danny takes Sandy to a drive-in to reconcile to a drive-in theatre but makes a clumsy pass at her, causing Sandy to leave. Meanwhile, Rizzo fears she is pregnant after missing a period. Sandy watches from afar as Danny races, concluding she still loves Danny, and decides to change her attitude and look to impress him; she then asks Frenchy for help to achieve this goal. On the last day of school, Rizzo discovers she is not pregnant. Danny has become a letterman but is shocked when Sandy arrives in black leather. In song, the two admit they love each other and reunite. They depart in the Greased Lightning car, which takes flight.Themes:Identity, social hierarchy and cliquesComing of ageSexuality, sexual identityLove, young love, ‘forbidden love’Men, masculinity, women and femininity 1980sThe Breakfast Club (1985) John HughesPlot: Beyond being in the same class at Shermer High School in Shermer, Illinois, Claire Standish, Andrew Clark, John Bender, Brian Johnson and Allison Reynolds have little in common, and with the exception of Claire and Andrew, do not associate with each other in school. In the simplest and in their own terms, Claire is a princess, Andrew an athlete, John a criminal, Brian a brain, and Allison a basket case. But one other thing they do have in common is a nine-hour detention in the school library together on Saturday, March 24, 1984, under the direction of Mr. Vernon, supervising from his office across the hall. Each is required to write a minimum one thousand-word essay during that time about who they think they are. At the beginning of those nine hours, each, if they were indeed planning on writing that essay, would probably write something close to what the world sees of them, and what they have been brainwashed into believing of themselves. But based on their adventures during those nine hours, they may come to a different opinion of themselves and the other four.Themes:RebellionStereotypical grouping of teenagersRebellionDrug useViews of sex. If you have haven’t you’re a prude, if you have you’re a skankRomantic interestsRelation to modern day issues such as peer pressure, suicide, abusive household1990sClueless (1995) Amy HeckerlingCher Horowitz is a wealthy Los Angeles high schooler who lives in a large mansion in Beverly Hills with her father, a successful $500-an-hour litigator. Her best friend is fellow rich girl?Dionne Davenport, who shares Cher's understanding of how it feels to be envied, as well as her passion for fashion. Cher decides to bring two nerdy and low-grading teachers together, when she sees how happy her matchmaking has made them, she decides to continue doing good works for others. Inspired to give back to the community, Cher adopts a dowdy new girl at school,?Tai Frasier. Dionne and Cher give Tai a makeover and groom her for popularity. Tai is enamoured of amiable slacker?Travis, a skateboarding stoner, but Cher steers her away from him and towards popular snob?Elton instead. Cher's plan backfires completely when Elton rejects Tai and tries to seduce Cher instead. Cher is disheartened and Tai heartbroken at the rejection. While Cher has expressed a marked distaste for "high school boys," she finds herself unexpectedly attracted to a mysterious new student named?Christian. Dionne's boyfriend, Murray, eventually explains to Cher that Christian probably doesn't want to date because he is gay. Cher's charitable project with Tai begins to work too well, and Tai's popularity soon surpasses her own. Tai confides that she has become attracted to Cher's step brother, Josh, and wants to enlist Cher's help in dating him. Cher tells Tai that Josh is wrong for her, which prompts a quarrel. Cher realizes that her reaction to Tai's interest in Josh was so vehement precisely because she is interested in him herself. Eventually Cher and Josh admit their feelings for each other and kiss.Themes:Social Class, PopularityLovePresentation and Outward AppearancesGiving Back and Doing GoodNegotiation and ControlComing of AgeHighschoolVirginityDriving and Responsibility2000sMean Girls (2007)Cady Heron moves to a new school from Africa. She unwittingly finds herself in an elite group of cool students dubbed "the Plastics”. She makes the mistake of falling for Aaron Samuels, the ex-boyfriend of queen bee Regina George. She falls into popularity and forgets her true friends, rising above Regina. Regina sabotages her with the ‘burn book’ and her popularity fades.??Themes:FriendshipLoyalty?Cost of betrayal?Identity??Social StatusConformitySelf-discoveryLoveProm2010sBook smart (2019) Olivia WildeAcademic overachievers Amy and Molly thought keeping their noses to the grindstone gave them a leg up on their high school peers. But on the eve of graduation, the best friends suddenly realize that they may have missed out on the special moments of their teenage years. Determined to make up for lost time, the girls decide to cram four years of not-to-be missed fun into one night - a chaotic adventure that no amount of book smarts could prepare them for. As Molly and Amy find out other students who are considered to be badly behaved, party goers and unintelligent got into elite ivy-league schools like Harvard and Yale, they begin to question what their hard work went to and if not joining in with the high school experience was a mistake. They consequently seek to attend a graduation party in an attempt to make up for lost time before they go to college.Themes:Exploration of sexualityGraduationComing of ageRebellionDrinking, party culture, drugsAcademics, stereotypesSocial status The development of the popular culture from a local to a global level-Teen films are largely produced in America due to the dominant culture that exists surrounding high school and prom. The industry further began there. However, teen films are consumed globally, but more typically in Western cultures due to the monoculture approach and the idea of a ‘White American Family’ being central to many teen films. There is an increase in diversity present in films.The increase of teen films to a global sensation is particularly evident during the 80s in which director John Hughes largely influenced the genre.Ferris Buellers Day Off:Local. Chicago 11/9/1985 – filmed.National- US and Canada 6/1986 – released.Made over $48 million in the first 48 days.Global- UK, France, Germany, Sweden 1986 released.International teen films- The teen film genre has consequently been mirrored in other nations, but not to the same success or extent as the American teen film industry.India- Mera Pehla Pehla Pyaar (2007), Ishq Vishk (2003).Korean- 100 Days with Mr. Arrogant (2004), Love Forecast (2014) The process of commodification for the popular culture-Commodification refers to a social process by which an item is turned into a commodity in readiness to be traded. The process relies on marketing strategies with the aim of producing a perceived value in the item.The way in which films are advertised, from posters to online advertisements. Digital consumption of teen films more popular than in person. Paraphernalia associated with teen films. The role of mythology in the creation and perpetuation of the popular culture-Mythology- a set of stories or traditions that serves to support a worldview or is associated with a group or historical event. Myths may have arisen naturally from truth, or they may be fabricated or deliberately fostered to rationalise, support or explain ideas. Mythologies and their narratives provide a framework for societies to explain or support a belief or practice.How do the myths and stories of teen films assist in the genre continuing?Common myths and stories:Bildungsroman- the coming of age storyGraduation/Prom night- losing virginity and being rebellious- Book Smart, Blockers, American Pie, Can’t Hardly Wait, 10 Things, Pretty in Pink, Carrie, 16 Candles, Perks, Lady BirdFirst love- Pretty in Pink, 10 Things I Hate About YouRebellion- confrontation with authority and power, parents, the law etcAwkwardness/Misunderstood by adults- Perks of Being a Wallflower, Dead Poets SocietyUgly protagonist needs makeover- Sierra Burgess, The Duff, She’s All That, Princess, Sierra burgess, Clueless, Grease, Pretty in Pink, Breakfast ClubMiss-match relationship- (Nerd/Jock), (Ugly/Pretty), (Rich/Poor) Dumplin, Angus Thongs, My Mad Fat Diary, To All the Boys, Grease, Paper Towns, Aquamarine, Mean Girls, TwilightSocial hierarchies and status- High School has a specific social order and some fit the mould others fail to do so- Mean Girls, Clueless, Breakfast Club, Book smartPositivesNegativesFilms gradually trying to depict the hardships of teenagers‘Misunderstood’ looking for support- Dead Poets Society, mean girlsChallenges beauty stereotypes- TATBILB, Dumplin, sierra burgess, lady bird, Alex StrangeloveDiverse Films- Love Simon, Book smart, Alex StrangeloveSmart- Juno, 10 things, Easy A, perksSuperficial- vain/shallow, Clueless, Mean Girls, wild child, GBF, Bring it OnRebellious teen, disturbing order for citizens- Ferris Bueller’s Day Off, Heathers, Breakfast Club, Lady Bird, Easy AClique and Exclusive High-School Culture, focus on statusGood girl goes bad, GreaseYOLOAs mythology depicts stereotypes, a status or norm is consequently created. It creates often unrealistic expectations of high school and adolescences and contributes to stereotypes. Myths around teenagers set a social standard and the norms of adolescences and the expectations of teenage years, so young individuals will turn to teen films in order to gain insight into the lifestyle. Teenagers may consume teen films as it provides them with something to believe in or relate to. Particularly teenagers who feel misunderstood or as if their social outcasts, Breakfast Club, Alex Strangelove, Love Simon. Adults may often watch teen films as it provides them with something to relate too. Continuities and changes to the popular culture-Continuities:Story arch and tropes present- particularly those involving love, social hierarchy and rebellion.America continues to be the dominant nation that produces teen films due to established myths surrounding teens and depictions of prom and high school.The teen film industry furthermore continues to be in demand and culturally prevalent as it was historically, specifically during the 80s.Changes:A change in diversity represented in order to expand potential consumers and further reflect changing social values and ideas. Particularly evident in relation to films the address race and sexuality.What is considered a norm to be present in films- alcohol use, pre-marital sex and drugs.The way in which teen films are consumed and watched. Netflix has established itself as a leading streaming service which has sections dedicated to teen films and is further producing its own teen films. Tall the boys and Sierra Burgess. U.S. Census Bureau shows that weekly attendance to cinemas dropped from 80 million in 1940 and 90 million in 1946 to 60 million in 1950 and 40 million in 1960. According to CBNC, in 2018, 61% of the US population had a subscription to a streaming service, with 51% of these people being subscribed to Netflix, with there being nearly 140 million Netflix subscribers internationally.The way in which films are advertised, from posters to online advertisementsWhy has the genre become stronger? Perpetuates myths. Continuity in character archetypes, change in diversity in order to reflect social standards and changed. Technological access allows the market to broaden, social media option for promotion, streaming makes it accessible, more movies made/available. It sets a social standard and the norms of adolescences and the expectations of teenage years, so young individuals will turn to teen films in order to gain insight into the lifestyle. Disposable income. Western teenagers consume it as it gives them something to believe in or relate to. More leisure time. Marketing had changed, then Poster, now the ad technologies allow targeted advertising. Increased independence of teens in a contemporary society. Nostalgia adults watching films that are relatable to the ‘good old days. Teen films is updating and modernising, diversity of representations, challenging stereotypes, plot lines. Changing values, alcohol use, pre-marital sex. The consumption of the popular culture: The consumers of the popular culture and the nature of its consumption-Teenagers- Teens seeking insight into the teenager lifestyle. Searching for plot lines to relate to and experiences they can empathise with. Parents- Watching teen films for the nostalgia factor. The John Hughes era, the rise of nostalgia films in the 60s (American Graffiti) due to removal of the Hays Code. Seek to gain an understanding of the modern-day teenager.Pre-Teens- Watching to form an expectation of High School and their teenage years.Streaming- According to a Screen Australia report in 2014, the use of on demand streaming services in Australia was 37% of the population. In 2017, this number rose to 68%. With 51% of respondents saying the use Netflix daily, weekly or monthly. 71% of 14-17-year old stated that they use streaming services. Netflix in particular has created a profitable teen film market, including films such as ‘To All the Boys I’ve Loved Before’, ‘Sierra Burgess is a Loser’, ‘Dumplin’’ and recently ‘The Tall Girl’. Cinemas- Data from Screen Australia revealed that in 2017 72% of the population attended a cinema at least once, the highest percentage since 1974. Due to the disposable income of teenagers, the cinema is a common and accessible resource. However, teen films are not as prominent in cinemas.A surge in teen moviegoing helped to lift total box office spending in North America by 6.7% in 2015 to $11.1 billion, the Motion Picture Association of America said today in its annual Theatrical Market Statistics report. Total admissions at 1.32 billion were up 3.9%. That’s the first annual increase since 2012, and the fourth in the last decade. MPAA chief Chris Dodd was impressed by what he saw among tech-savvy 12-to-17-year olds. “Younger people share more info,” he said today at the exhibition industry’s CinemaCon confab in Las Vegas. Teens accounted for 16% of ticket sales, although they’re only 8% of the population. They went to the movies more than any other demographic in 2015, 7.3 times — up 14% vs 2014. They were followed by 18-to-24 year-olds who averaged 5.9 movies in 2015. The relationship of heroes and mythology to media and consumption-John Hughes (1950-2009)- a hero of teen films. An American filmmaker, directorial debut ‘Sixteen Candles’ won almost unanimous praise when it was released in 1984 due in no small part to its more honest depiction of navigating adolescence and the social dynamic of high school life. This portrayal was in stark contrast to the Porky’s, which inspired comedies made at the time. SC was the first in a string of efforts set in or around high school, Hughes’ films defined the 80s teen film genre.Films- Sixteen Candles, the Breakfast Club, Pretty in Pink, Weird Science, Ferris Bueller’s Day Off. Impact- Hughes established relationship tropes, mythologies of rebellion, social status, parental relationships.Other teen film heroes- James Dean (Rebel Without A Cause), Molly Ringwald (Sixteen Candles, Pretty in Pink, the Breakfast Club), Noah Centineo (The Perfect Date, To All the Boys I’ve Loved Before, Swiped, Sierra. Burgess is a Loser). Media- As a hero becomes synonymous with the genre, a social following is gained. Often through social media, as can be seen with Noah Centineo. This allows the individual to continue to promote the genre through media. Furthermore, their association with the genre will increase the consumption of the genre as a consequence of media portrayals. Consumption- Mythologies and heroes assist the teen film genre in being continually consumed extensively. Mythologies in particular create a standard or norm for the teenage lifestyle and thus as they continue to exist in real life there are then reflected as a relatable source within teen films. Teenagers will continue to consume the portrayal of the myths of their life. Heroes assist in consumption as when a cult following is gained surrounding a hero, consumers will seek to consume the other work of that social hero. How globalisation and technologies have influenced consumption-Globalisation and technologies have substantially influenced the consumption and production of the teen film market. Globalisation- The globalisation of the teen film genre has led to an increase in international production of the genre and furthermore has facilitated an international increase in consumption. As the genre has successfully commercialised and been consumed within Western cinemas, the Eastern film industry has begun to create their own ten films. This has consequently assisted the international consumption and production of the genre as the myths and values of a different adolescent culture can be portrayed in a relatable and accessible style. Ferris Buellers Day Off:Local. Chicago 11/9/1985 – filmed.National- US and Canada 6/1986 – released.Made over $48 million in the first 48 days.Global- UK, France, Germany, Sweden 1986 released.India- Mera Pehla Pehla Pyaar (2007), Ishq Vishk (2003).Korean- 100 Days with Mr. Arrogant (2004), Love Forecast (2014)Technologies- Through an increase in access to technologies, the ability of a teen audience to access films from the genre has increase substantially and so has the production of the cinematic genre. The rise of digital streaming is one technological change that has advanced the teen film genre. According to a Screen Australia report in 2014, the use of on demand streaming services in Australia was 37% of the population. In 2017, this number rose to 68%. With 51% of respondents saying the use Netflix daily, weekly or monthly. 71% of 14-17-year old stated that they use streaming services. Netflix in particular has created a profitable teen film market, including films such as ‘To All the Boys I’ve Loved Before’, ‘Sierra Burgess is a Loser’, ‘Dumplin’’ and recently ‘The Tall Girl’. Technology has in general had a huge impact on the film industry, through computes, images and sound. Technology is cheaper and commercialised. 3D and 4D cinemas. Paraphernalia can be associated with technology and purchased through the internet. Wider consumption and more language access. Digital sound in personal homes. The relationship of access and consumption to age, class, ethnicity, gender, location, sexuality-Age- Teenagers are more likely to access and consume the teen film genre due to relatability. However, official and nonofficial censorship can prevent access. Films such as ‘Book Smart’, aimed at a teenage audience, was given an R17+ rating in America and an MA15+ rating in Australia. This decreases teenage consumption and access to a film targeted at that age group. Films like ‘Thirteen’ also suffered from official censorship, but largely unofficial censorship and unofficial demands for restricted access to the film led to the official rating of R18+ being given.Class- Those without a disposable income are likely to not be able to access and consume the popular culture of teen films. However, alternative like streaming and pirating make it more financially accessible than regular cinema attendance.Ethnicity- As the teen film genre is most prominent in America, consumption from diverse ethnicities is lower due to a lack of common values and mythologies. However, the representation of POC is increasing in films such as ‘The Hate You Give’, ‘To All the Boys I’ve Loved Before’ and ‘Love Forecast’. Films may be more difficult to access in countries with variating rating laws or as a consequence of language and cultural barriers.Gender- Teen films largely centre around female protagonists, however many do feature a male lead ‘Love, Simon’, ‘The Perks of Being A Wallflower’, ‘The Perfect Date’ and ‘Rebel Without A Cause’. Thus, access and consumerism on a gender basis is fairly distributed. Representation of the transgender or gender-diverse community has increased, in films such as ‘3 Generations’ (2015) depicting the experience, thus broadening the access and relatability of the film and increasing consumption.Location- In regions with less internet access or those that are of a lower socio-economic income, the popular culture genre may be less accessible. Location can further influence understanding of the genre, such as those with opposing cultural values not wishing to watch the beliefs portrayed in an American teen film.Sexuality- As teen films have responded to changing social values, those of a diverse sexuality are able to find the film relatable and are consequently encouraged to access and consume the popular culture. Films such as ‘The Miseducation of Cameron Post’ (2018) and ‘Call Me by Your Name’ (2017) depict the LGBTIQ+ experience and thus encourage consumption from diverse audiences. How consumption and ownership of paraphernalia influence a sense of identity-Through various paraphernalia associated with teen films in popular culture, a relationship between an individual and commercial produce is created and thus a sense of identity is developed. Paraphernalia further enhances the ability of consumers to empathise with and understand the characters and themes portrayed in a teen film. Paraphernalia refers to the items associated with a particular institution or activity, with this including the soundtracks used in pop culture film genre of teen films. Lady Bird (2017)- T Shirts, clothing with film quotesThe Fault in Our Stars (2014)- Laptop cases, coffee mugs, clothing with quotes, shoesPaper Towns (2015)-Stickers, clothing, laptop and phone case, pillowcase, journal bookTo All the Boys I’ve Loved Before (2018)- Hoody, badges with quotes, scrunchies, lip balm, book magnets, clothing, jewellery, pencil case, bookmark, planner, postcards, digital artClueless (1995)- ClothingProduct Placement- Apple becoming synonymous with teenage life and technology.Magazines- Such as Seventeen, discuss the lives of actors, film storylines and reviews. They increase interest and engagement with the teen films. An individual may enjoy a performance and search an actor’s bio and other films they have been in. Review websites such as IMDB and Rotten Tomatoes provide similar data.Soundtracks- Joan Jett’s ‘Bad Reputation’/Frankie Valli’s ‘Can’t Take My Eyes Off You’ in 10 Things I Hate About You, Simple Minds’ ‘Don’t You Forget About Me’/Karla DeVito’s ‘We Are Not Alone’ in The Breakfast Club, The Smiths’ ‘Asleep’/Bowies’ ‘We Can Be Heroes’ in The Perks of Being a Wallflower, Sufjan Stevens’ ‘Mystery of Love’/’Visions of Gideon’ in Call Me by Your Name and ‘You’re the One that I Want’/’Summer Nights’.How do soundtracks create identity? The consumption and ownership of film paraphernalia infouences a sense of personal and social identity as a relationship is made between the consumer and the mythologies present in a film. Bad Reputation contributes to the creation of a rebel identity as an individual can identify with Katarina and her deviant behaviour. The soundtrack of TPOBAW contributes to a nostalgic and outcast identity as all of the songs featured are from previous musical eras, thus enhancing the generational disconnect the protagonists feel and conveying this to the audience.How does clothing create identity? Clothing acts as a form of non-verbal communication which can convey to strangers the interests, identity and values of an individual. The clothing featured in Clueless, particularly that worn by the characters Dion and Cher, reveals an individual’s interest in 90s fashion and further their engagement with the teen film genre. It allows for a connection between the consumer and the characters to be developed. Clothing that portrays quotes from a film creates a sense of identity as a person’s beliefs and valued moments can be demonstrates to the wider society. The control of the popular culture: The ownership of the popular culture and the tensions between consumers and producers-Producers, directors and film companies largely own teenage films as they determine what mythologies are portrayed to audiences. However, consumers purchase the teen film and have the power to reject it by making an active decision to boycott or abstain from engagement with a teen film. Films produced my Netflix such as ‘Sierra Burgess is a Loser’ and ‘The Tall Girl’ have led to backlash from consumers and a rise in tension between consumers and producers. Backlash largely surrounded the negative depictive of Sierra and the overexaggerating of the plight of tall girls. However, shortly following the negative depiction of a plus size protagonist in Sierra Burgess, the film ‘Dumplin’ was released by Netflix which received large praise from consumers.Social demands and trends can largely influence how producers depict the teen lifestyle as in order to maintain consumer engagement popular culture must respond to social change. This can be evident in the inclusive of sexually and ethnically diverse protagonists seen in ‘Love, Simon’ and ‘The Hate You Give’. In this sense, consumers possess ownership over the popular culture as if producers didn’t reflect the values of their target audience it would not succeed. Content and classification tensions can arise between consumers, producers and government authorities. Social response to the explicit and illicit content in the film ‘Thirteen’ (2003) created a tension between consumers and producers as the film was largely boycotted and there was a social demand to remove screenings of the film in Bondi. However, government authorities altered the classification of the film in order to prevent the escalation of tension. Similar events occurred in response to the 1981 film ‘Puberty Blues’.Stakeholders can create tensions in disposal of money. Success of product and process.Participants could have a conflict of interest and object producer ideas. Conflict in dialogue and direction. Conflict between writer and storyline of the teen film. Conflict between actors about a character’s image. Conflict between marketer and producing different targets. Conflict between actors and producers.Participants include consumers. They can refuse to participate until their way is accepted and there could be financial tensions. The stakeholders and how they influence the popular culture – family, peer groups, media, marketers, governments, global groups-Stakeholder- A person with an interest or concern in something, especially a business.Family- Families can prevent the teenage audience from consuming a teenage film by monitoring their digital footprint and refusing to allow them to attend a cinema etc. Traditional or cultural values of a family may contrast the ideas depicted in a teen film and thus they would not want their teenagers to view it. However, in the digital era family members face more difficulties restricting child access to films as it can be streamed online. Parental response to the film ‘Thirteen’ resulted in the rating being raised from MA15+ to R18+. Parents and family are also heavily depicted in the teen film genre. The mythology of the single father has been heavily present in films such as ‘Pretty in Pink’, ’10 Things I Hate About You’ and ‘To All the Boys I’ve Loved Before’. The presence of families is essential to the teen film genre and thus they have a great influence on the content within and consumption of the popular culture.Peer groups- Peer groups largely influence how teenagers consume popular culture and what teen films are viewed. A groups opinion on a film can encourage other teenagers to consume it as well in order to create common social ground. Furthermore, peer groups are essential in the portrayal of teenage films as they are consistently represented in the popular culture genre. Mythologies surrounding peer groups can increase the consumption rate of the genre. Peer groups can additionally determine the way in which the genre is consumed, if a friendship group desire to view it in cinemas an individual will join, or if they decide to stream it online the individual may stream it themselves.Media- Media reviews of a teen film can largely determine whether the popular culture item will attract a larger or smaller audience. They can further influence action against a film (seen in the instance of ‘Thirteen’). Media promotion of actors, such as Noah Centineo and his features on media outlets like Buzzfeed, can attract audiences to watch the work of the actor. Buzzfeed videos such as ‘Too All the Boys I’ve Loved Before Cast find out which character they really are/play kiss and tell’ and ‘The Kissing Booth Cast play truth or dare’ result in further promotion of the film and encourage consumption. Teen Vogue are another influential media outlet that promote teen films such as the TATNILB truth or dare episode.Marketers- Film trailers are a significant form of marketing that influences the promotion and consumption of a film. Netflix advertisements on Facebook and Instagram can encourage awareness and excitement towards a film. Cinemas, such as Hoyts and Event, host ‘throwback’ films often featuring early teenage films. Events screened the 1983 teen film ‘The Outsiders’ in October 2019. ‘The Kissing Booth’ was a teen film based on a piece published on Wattpad, thus receiving extra marketing ernments- Governments can have a large influence on the consumption of a teen film as they determine what age demographics can view the film and whether the content of a film is to be shown in a nation. The teen film ‘Thirteen’ was completely banned in Egypt and Denmark, with the rating being raised in Australia. The teen film ‘Booksmart’ was rated R17+ in America, excluding the teenage audience, whereas it was given an MA15+ rating in Australia.Global groups- The role of global groups in influencing popular culture varies. Their impact is largely limited as governments control and restrict consumption and peers and family further influence consumption. Ones like GLAAD and the Trevor Project promote teen films that are inclusive of minority voices (such as ‘3 Generations’). The role and impact of official and unofficial censorship-Official- Government censorship. Evident in ratings and banning of films.Hays Code:Existed from 1930-1968.Crime and immorality could never be portrayed in a positive light. If someone performed an immoral act on television, they had to be punished.Nudity and overt portrayals and references to sexual behaviours (even between consenting adults) could not be shown.Religion could never be depicted in a mocking manner.Drug use, including alcohol consumption, could not be shown unless the film called for it.BE CAREFUL: use of firearms, theft, robbery brutality gruesomeness, murder, criminal sympathy, sedition, apparent cruelty to children/animals, rape, consummation, man and woman in bed together, use of drugs, deliberate seduction of girls, excessive lustful kissing, portrayal of law enforcementWhy was is brought in?Response to risqué films during the 1920s (Cinematic golden age of Germany)Will H Hays created code, a former Postmaster General created itImplications 1930-1968 and 1968 onwards:Nostalgia film, American Graffiti, Dirty Dancing, Grease. During the era of the Hays Code teen films could not be produced in a manner the reflects reality. Thus, nostalgia films emerged as people could now portray ernments can have a large influence on the consumption of a teen film as they determine what age demographics can view the film and whether the content of a film is to be shown in a nation. The teen film ‘Thirteen’ was completely banned in Egypt and Denmark, with the rating being raised in Australia. The teen film ‘Booksmart’ was rated R17+ in America, excluding the teenage audience, whereas it was given an MA15+ rating in Australia.Motion Picture Association America- Determines the film ratings in America. The film ‘3 Generations’, which is a story of a teenagers transgender experience was originally given an R17+ rating. The Weinstein company challenged this instance and it was eventually lowered to a PG13 rating.Thus, official censorship significantly influenced whether teen audiences can access a teen film and what contents can be portrayed in the movie.Unofficial- Parents, media, peers, family members, producers of films and review organisations.Parents and family members can refuse to let a child attend a film, they can place restrictions on the teenagers Netflix account and internet browsers. They can choose not to financially support the child’s attempts to see a film. This can be influenced further by religious or cultural beliefs.Producers can censor scenes from novels when it comes to adaptations. Violent scenes were removed from ‘The Hunger Games’, Charlie and his aunts relationship in ‘The Perks of Being A Wallflower’ was largely removed and the ages of the teenagers in ‘Puberty Blues’ were raised from the book to film and the again in the television series.Australian Council on Children and Media- provides guidelines for parents on new released films and outlines sensitive content within them. The recommended ratings given by the ACCM are often harsher than those dictated by official censorship. The influence of power and authority at the micro, meso and macro levels-Power Micro- Parents and friends.Power Meso- A cinema refusing to screen a teen film. Community attempts to stop a film being screened, Bondi and ‘Thirteen’. Schools providing recommendations in newsletters.Power Macro- Australian Council on Children and Media. Producers. Social media can influence consumption.Authority Micro- Parents and teenagers complying with laws.Authority Meso- In countries like America and India, certain states will ban a film. ‘I Am Curious (Yellow)’ was banned in several Southern states, Alabama, in 1967 due to showing a teenager explore their sexual life.Authority Macro- Legislation and film ratings. The different perceptions of the popular culture: Groups that accept and reject the popular culture-Accept-As a collective, people have perceptions of whether teen films are popular or not. Masses in society either accept teen films as a form of popular culture or not. Box office figures support this with millions viewing She’s All That and other teen films. The government accepts teen films as an export earner and industry that employs skilled Australians. Workers within the industry accept teen films as a form of viable employment, retailers accept it as employment within retail stores. Which teen films will be accepted by which sections of the youth market will depend on the appeal of the storylines. Some will be of such general appeal that almost everyone will accept them.Teen films have even been accepted in schools, with aspects of the curriculum focusing on modern adaptations of classical texts such as, 10 Things I Hate About You and Shakespeare’s The Taming of the Shrew, Clueless and Austen’s Emma, She’s the Man and the Twelfth Night, and Easy A and the Scarlett Letter.Media acceptance of the teen film genre is evident in the 21st century through the coverage of the Netflix produced stream of teenage films.Reject-Perceptions are our comprehension of a situation. They are a result of our selective judgement about a person/situation and the culture or people involved. Our perceptions relate to our micro and macro worlds, our socialisation, past experiences, learning and knowledge. It is linked to our age and gender; thus, our perceptions vary between individuals. Some people believe popular culture texts create social dislocation. Such reasons are based on person values, religious beliefs and levels of violence depicted. There are many different forms of resistance;Legislation in the form of censorship, fundingProtests through letters, radio, demonstrations outside cinemasLobby groups gathering supportPressure groups forms of influence the government to alter policiesFringe groups are outside mainstream society, they resist mass commercialism and opt for alternationsSocial movements such as anti-capitalist and feministRejection of teen films largely stems from social values. The film ‘Thirteen’ was rejected by parents, media and society and consequently was banned in several countries and the rating was increased in Australia. The film ‘Sierra Burgess is a Loser’ received backlash from the media and teenagers. Netflix responded with the release of ‘Dumplin’, a film that depicts plus-size characters in a positive manner, rather than vindictive.Particular teen films may be rejected because of their explicit nature of violence, sexual images, subject matter and poor quality. Some groups in society reject some forms of teen, such as fashion because cost is involved. Individuals reject the film and associated paraphernalia as they may want to protest commercialisation. Rejection forms are, writing letters, word of mouth, petitions and legislation. Many who reject teen films come from older generations or authority groups, who disapprove of the messages being given to young people regarding sex, drugs, general behaviour and attitude to authority. This rejection may be evidenced by censorship, refusing permission for children to attend and sometimes protest.-7958664866216 Changing perceptions and the value of the popular culture to groups in society- INCLUDEPICTURE "" \* MERGEFORMATINET Culture shock- Between the generation gap, and also different ethnicities. Many old people may look upon course language, slang, activities, music and ideas in teens films today and find it different from those they watched as a teenager. They may not understand why explicit content is included and feel excluded from understanding. Therefore, they would attempt to control it by preventing access, using censorship and licensing. Their perceptions are negative. Schools and churches also perceive popular culture differently, this is due to differing interactions with the target group.Teen films have even been valued in schools, with aspects of the curriculum focusing on modern adaptations of classical texts such as, 10 Things I Hate About You and Shakespeare’s The Taming of the Shrew, Clueless and Austen’s Emma, She’s the Man and the Twelfth Night, and Easy A and the Scarlett Letter.The teen film genre is becoming of increasing value to teen consumers and the marketing industry. In 2018 alone Netflix produced and released 12 teen films. Thus, the genre is making a ‘comeback’ and is becoming once again increasingly valued and relevant to contemporary audiences.Perceptions towards the culture have altered in response to the changing values portrayed in teen films. As teen films begin to portray contemporary values, older generation have rejected the culture whereas younger generations have embraced the increasingly diverse nature of the pop culture.The genre is largely valued in social media, with Noah Centineo becoming a forefront of the teen genre and modern popular culture. How the popular culture constructs or deconstructs gender-Masculinity-Characters like Danny Zuko in Grease construct typical ideas of masculinity by depicting the jock stereotype. Danny follows the bad boy and rebel mythology. His character conforms to the heteronormative expectations of the 1960s. In this sense, his character largely constructs gender. Jason Dean in the film Heathers continues to perpetuate ideas of masculinity by showing a rebel character who participates in illegal, and to an extent psychotic, behaviour. Patrick Verona in 10TIHAY further conforms to masculine bad boy stereotypes. However, Danny and Patrick both deconstruct those ideas when they find love. John Bender in TBC forms part of the bad boy mythology, however, it is deconstructed when he becomes emotional over his upbringing. Andrew Clarke in the Breakfast Club forms ideas of masculinity through the jock stereotype. However, Brian deconstructs masculine stereotypes by having a scene where he cries about how he was going to commit suicide.Single dad mythology. In films such as Pretty in Pink, 10 things I hate about you and TATBILB, males are depicted in a vulnerable sense as they are single parents whose wife had either left them or died.Jim Stark in Rebel Without a Cause to an extent deconstructs masculine stereotypes as can be seen in his emotional breakdown in the ‘you’re tearing me apart’ scene. Mark Thackeray further demonstrates a compassionate aspect from an outsider perspective in ‘To Sir with Love’, however, the students conform to the mythology of rebel jocks.In ‘The Perks of Being A Wallflower’ ideas of masculinity are entirely deconstructed. Charlie is portrayed to be an emotional and isolated character, deconstructing prominent masculine norms. Films like ‘Love, Simon’ deconstruct the ideas of heteronormativity by portraying a gay couple and Simon’s exploration of his sexuality. This can further be seen in. Alex Strangelove.Femininity-Ideas of femineity have been more deconstructed in teen films than male mythologies.Characters in Mean Girls such as Regina and Gretchen conform to the popular snarky female stereotypes. However, a character like Janice directly contrasts them by portraying the mythology of a ‘scene’ girl.Heather McNamara and Heather Chandler conform to the popular mean high school mythology. With characters like Martha portraying the stereotypical ideas of women that are lower in the high school social chain. The character of Claire in TBC conformed to the expectation of a popular and rich teen. However, her place in detention slightly deviated from expectations. The character of Allison deviates from gender norm yet conforms to the outcast stereotype. Furthermore, the character undergoes a makeover scene where traditional gender expectations are conformed to. Characters like Samantha Baker from Pretty in Pink conform to the innocent and proper feminine mythology.Kat in 10 Things I Hate About You deconstructs ideas of femineity, whereas her sister Bianca conforms to them. Kat is portrayed as a sporty, intelligent, feminist, isolated character, reflecting the idea of a ‘shrew to be tamed’. She protests against ideas of dating and rejects structures like prom. However, things change when she enters into a romance with Patrick, her values persist but she considered dating and prom after Patrick’s persistence.Olive in Easy A deconstructs gender through the discussion of sexual identity which contrasts social values and the mythology of a good girl. Blue is the Warmest Colour strays from heteronormative expectations by portraying the sexual explorations of a high school teenager, Adele, who enters into a same-sex relationship with Emma.Characters like Nancy from the Craft deviate from norms by portraying a vindictive female character.The character of Starr in the Hate You Give deconstructs feminine stereotypes as the film portrays political ideas and the African American experience. Starr is concerned with achieving justice for her friend that was killed by a white police officer rather than the trivial ideas of high school. The contribution of the popular culture to social change: How the popular culture expresses contemporary social values-Gender- Modern teen films have strayed from rigid representations of gender and consequently have portrayed various ideas of gender identity. From the transgender experience of Ray in ‘3 Generations’ to Willow from ‘Dumplin’ which defy the beauty expectations of women. Whereas films like ‘Grease’ displayed strict beauty and social expectations in regard to gender. ‘The Perks of Being Wallflower’ has adapted male expectations to be rebellious and tough by displaying the highly emotional character of Charlie.Rebellion- From ‘To Sir, With Love’ where rebellion is depicted in the form of classroom pranks involving mock tampons, ideas of rebellion have altered drastically in the 21st century and consequently have been reflected in teen films. ‘Booksmart’ depicts rebellion through the means of house parties with underage drinking and illicit drugs, such as psychedelics.Sexuality- With the post-Stonewall Riots Gay Liberation movement and the recent introduction of the Marriage Equality Act in 2017 Australia and 2015 in America, teen films have adapted to display diverse sexual preference in order continue consumerism. Films like ‘Sixteen Candles’ and ‘Dirty Dancing’ perpetuate a social heterosexual expectation. However, recent teen films like ‘Miseducation of Cameron Post’ and ‘Love, Simon’ demonstrate the experience of LGBTIQ+ youth.Race- Ideas surrounding racial prejudice and the lack of representation of people of colour in the film industry has become an essential aspect of contemporary discourse, especially with regard to the Black Lives Matter Movement. Films such as Heathers, Grease, The Breakfast Club and Rebel Without a Cause feature largely Caucasian casts, with little being mentioned about race. However, films like ‘The Hate U Give’ not only centre around the African American community but aim to contribute to political discourse as the film focuses on police brutality and the disadvantages African Americans face in modern America. ‘TATBILB’ depicts an Asian protagonist. The positive and negative impact of the popular culture on wider society-Positive-Good entertainment for teenagersEmployment availability in all aspects of the industrySocial continuity of myths and legends from the pastTechnology makes it realisticWidely accessible and cheapDeconstructs social idealsIllustrates good morals and valuesShows average people can overcome difficultiesProvides teenagers with a sense of identity and understandingNegative-Teens begin to focus on time indoors watching films and consuming paraphernaliaYoung children can access teen films deemed not appropriate for their age groupViolence or anti-social behaviour may lead to the idea that violence is acceptableFalse sense of reality with happy endingsCan influence ideas of drugs and alcoholCan led to teens conforming to views they do not necessarily agree with The ways in which the popular culture has contributed to social change-Social changes are forces within or outsides society that act to modify one or more of the following aspects; existing social structures (education), social institutions (work) and social behaviour (leisure activities, morals and values)Popular culture makes it possible for social change to occur, making us question our current beliefs. Social change in the future can be increased through access to the internetPopular culture can cause conflict, as individuals perceive texts in a positive or negative light e.g. ‘American Pie’- some groups see it as totally offensive, bad language, sexual references. While other groups view it as acceptable because it reflects teen issues e.g. dating dilemmas, sex, stereotypes and peer pressureThe aspects of adolescent western culture, which are conveyed through the medium of the teen film, see the continuity of teenagers as a distinct subculture within societyTeen films are constantly updating or introducing new ideas concerning attitudes, values, fashion, music and behaviour e.g. James Dean Rebel Without A Cause still has similarities of today’s teenager’s rebelliousness but describes a different world to the one in ‘Clueless’Teen films may raise consciousness about social issues, gender roles- Buffy, peer pressure- Black Rock and drug abuse- puberty bluesContributions to social change in the future- broaden through the development of the internet e.g. instant reviews, fan clubs, chat lines with the stars and other teen film enthusiasts and marketing paraphernaliaConsumers of teen films can form a different relationship with producers, marketers and distributors than what was available in earlier eras, instant feedback and communicationUnify the teenage subculture of a particular era and then moves on to the next generation and retains the basic characteristics- incorporates new aspects of this new generationThe near future (5 to 10 years) Determine current trends and suggest probable future directions for the popular culture:There has been an increase commercial format of teen films, with interactive DVDs (Bandersnatch), stage productions (Grease), computer games and an increase in the types of paraphernaliaThere has been an increase in the number of people consuming the commercial product- an increasing wider audience, including younger children and young adults. Profit continues to increase, Netflix earned 1.21 billion USD in 2018Continue to focus on teen issues, morals and traditional storylines/themesModernisation and the pressure on teens to behave in a particular wayCharacters, the hero and supporting charactersContinue to increase inclusive and diverse castsPolitics to become highly topical The next generation/craze/fad/social consciencesThe changing nature of the product, the explicitness of the teen films in the futureAs drug use and legalisation is increasing it will be reflected in films, ‘Booksmart’ and ‘Dude’ Evaluate the impact and implications for the popular culture of: Likely changes-Specialised industries entering into the production; Stan and Hulu are beginning to create their own teen films ‘Looking for Alaska’Access widened due to technology; half of Australians use NetflixConsumption and production of teen films has increased, NetflixIncrease in marketing of paraphernalia, websites like Buzzfeed constantly market teen filmsWider variety of teen texts, representation of diverse protagonists increasing Probable continuities-Themes and morals- ideas like being yourself is okay ‘Clueless’, ‘Mean Girls’, ‘Easy A’ and ‘Sierra Burgess is a Loser’Large companies dominating the production of teen films, like NetflixStyles of teen films; drama, love film, coming of ageCharacter arcs; the jock, popular girl, rebel, outcastThe domination of America in the industry Predict the importance of the popular culture to society in the near future:The popular culture will continue to be highly important to businesses, with Netflix gaining a substantial income from producing teen films. As diverse films are becoming more common it will continue to develop identities and gain popularity on a wider scale as minority groups become represented. More people can empathise with diverse characters.It will continue to grow in other countries, particularly South Korea.They will become an important avenue to express ideas of social change and reflect social movements i.e. The Hate U Give.The popularity of teen films peaks at the start/end of a decade or social era, thus demonstrating its role in portraying common of age shows and aiding teens during periods of social change.As it provides teens with a sense of identity, establishes norms and caters for diverse audiences it will continue to be an essential aspect of popular culture.Depth Study ConceptsCommercialisation: The process of adding value to an idea, product or commodity with the aim of selling it and making a profit. About preparing the item for sale and making money from it. The success of commercialisation often relies on marketing and modification: Social process by which an item is turned into a commodity in readiness to be traded. The process relies on marketing strategies with the aim of producing a perceived value in the item.Continuity: The persistence or consistent existence of cultural elements in a society across time. Can also be referred to as the maintenance of the traditions and social structures that bring stability to a society. Continuity serves to unify given community and link sense of past and present.Consumption: The process of selecting and using a product. Involves a conscious decision to engage with a commodity.Change: The alteration or modification of cultural elements in a society. Can occur at the micro, meso and macro levels and can be brought about by modernisation- results in an alteration to culture.Conflict: A perceived incompatibility of goals or actions. Can occur at all levels in society and its resolution can invoke social modification.Hegemony: A powerful group exercises social authority and leadership over subordinate groups through winning their consent.Ideology: An organised collection or body of ideas that reflects the beliefs, values and interests of a group, system, institution or nation. Refers to the body of doctrine, myth and symbols held by the group that guides individual and group actions.Institutional power: The power that exists in institutions and how it is used to control aspects of society. Institutions such as the family, school, law and government use inherent power to control, change and maintain continuity of interactions.Mythology: A set of stories or traditions that serves to support a worldview or is associated with a group or historical event. Provide a framework for societies to explain or support a belief or practice.Paraphernalia: Items or equipment that accompany a popular culture.Values: Deeply held ideas and beliefs that guide thinking, language and behaviour- part of one’s culture and social interactions. Can be changed. ................
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