“Look do you wanna fuck or not? You can put it up my ass as well…. It hurts…. but I don’t mind.” How is youth represented, especially females within contemporary media? - with specific reference to Kidulthood.
From the recent introduction of the ASBO, to the more sentimental approach of the 'Hug A Hoodie Scheme', imposed by conservative leader David Cameron; it has become increasingly evident that Britain is at struggle with the changing reckless behaviour of the youths of today. Instead, contemporary society has recently raised the issue of morale panic[1] globally, through both hard hitting underage sex, and violence related headlines consistently overtaking the media, and thus in turn depicting the scandalous actions of the young. The youths of Britain have never been more focused upon then they have within this primary era, whereby the majority of civilians believe that we're all 'going to the dogs'[2], and regard Britain as ‘ a nation of yobs’[3]; and with statistics of both divorce, teenage pregnancy, and delinquency rapidly increasing; these remarks do not stand far from the truth. However, instead the era of felony, in which we now face, promises the 21st century youths of today, a combination of both dead romance, casual sex, and boredom. Whereby females, similar to that of ‘Becky’, within ’Kidulthood’ disregard sex as a ‘fuck’, breaking the traditional passive female stereotype renown worldwide. Instead our contemporary era, has now come to be a representation of the
The 70’s marked the beginning of this social change within society, whereby both females, and males alike, conformed to the representation of the ‘hippy’, focusing on the movements of both peace, love, and sexual liberation. However, it was truly the late 1950 era of both drugs and rock ‘n’ roll, that marked the changing behaviour of females within contemporary society; as the ’groupie’ acted as the glorification of open promiscuity, both disregarding and devaluing the importance of sex. This depiction of the‘lady’ thereafter, also constructed the later representation of the female, as the ‘gold-digger’; untrustworthy, cheap, and callous, valuing the means of money, over genuine affection. The 2001 hit ‘Heartbreakers’, featuring Jennifer Love-Hewitt, reflects these contemporary female intentions, and morals, whereby the girls are referred to as ‘gold diggin’ whores’, and adopt the same slapdash sexual intentions of men ‘if I were a guy, I’d do you’.[4]
However, key character ‘Becky’, constructs and represents a horrifying new portrayal of women, in which neither class, or intelligence is employed by the female gender in order to effectively manipulate, and deceive the male opposition. Instead, the liberation of women is demonstrated through shocking sexual misconduct, whereby ‘Becky’ drops down on to her knees, performing oral sex in exchange for both cocaine, money, and clothing. It is therefore arguable, that both key characters Becky, and Alissa, ’the vamps’[5], represent 'danger, sexuality and the possibility of independence'[6], as they cunningly seduce the male opposition, and use them as tools to succeed. ‘Kidulthood’ in contrast to David Mirkin’s ’Heartbreakers’, reflects this contemporary conduct of women and ’gold digger’s’ alike, as a display of both lack of class, and intellect; reinforcing instead a patriarchal society, in which the male gender appears superior.
This male superiority, is reflected through the representation of promiscuous character ‘Becky’ as ‘the whore’, dirty, rebellious, and in possession of numerous sexual partners, with little regard to either preference or standard. However it is arguable that this depiction of ‘the whore’ merely highlights further, female oppression within society, as central character ’Becky’, enjoys carefree, casual sex; traits typically associated with males. Instead, ‘the whore’ reflects the contemporary 21st century era of both female sexual liberation, and equality, breaking passive stereotypes, with active sexual advances. ‘Sex In The City’ in particular, reflects this modern day behaviour, demonstrating the acceptance of ‘the whore’ within Society through Van Zoonan’s branding of both the sexually active, and career focused female, as the ‘superwoman’[7]. However, although ’Sex In The City’s’, Sarah Jessica Parker, displays the same ‘whorish’ sexual advances as ’Kidulthood’s’, ’Becky’, ‘I will wear whatever and blow whomever I want as long as I can breathe and kneel.’[8]; ‘Carrie’ is instead portrayed in a positive, respectable light, due to both her age, air of maturity, and intellect; all traits in which ‘Kidulthood’s’ youthful, and naïve ’Becky’ evidently lacks.
This specific representation of females youths, as ’the whore’, in contrast to the mature female adult as ’the superwoman’, effectively reflects our contemporary societies fear of the young. Stanley Cohen’s , ‘Folk Devils and Morale Panic’ theory reflects this fear and consumption of both female and male youths alike, by society as "a condition, episode, person or group of persons [who] become defined as a threat to societal values and interests."[9] The contemporary media constructs a negative stereotype of the present day youth, through the stereotyping of both interests, appearance, and behaviour alike, perceiving hooded youths, as both troublesome, and disruptive. Authorities figures such as that of the Deputy Prime Minister John Prescott, reinforces this stereotype of the ’rebellious teen’, as he refers to ’hoodies’ as the ‘"uniform" of lawless teenagers.’[10] ‘Both Kidulthood’s central characters, Becky, Alissa, Trife, Jay, and Moony, therefore effectively conforms to the conventional present day ‘thug’ associated image of ‘the hoody’, as all five characters are featured sporting similar large hooded jackets, and caps. Menhaj Huda’s ’Kidulthood’ effectively reflects the moral panic of today’s youth culture, and in turn the ‘hoody’, through the false accusations of both theft and delinquency. Societies distrusting attiude towards youths is therefore effectively emphasised further through the prejudice actions of the guard, in which an element of racial prejudice may also be perceived. However, the justice, and fairness of the adult society is upheld within Kidulthood, through the defence of Trife by the honest female sales assistant; fairly young, and attractive herself, this Burberry shop assistant reflects the first positive reflection of the female within ’Kidulthood’, as the more reliable, truthful sex.
However, Menhaj Huda’s ‘Kidulthood’ also reflects an era of both cultural feminism, and role reversal, whereby the macho, polygamous stereotype of the male is challenged, and reflects instead the emasculation of men within contemporary society. This is specifically reflected through both bully ‘Sam’s’ forgiving nature towards cheating female partner ’Claire’, Trevor’s condemnation of extreme female violence, as well as ’Jay’s’ monogamous loyalty; as he turns down the offer of casual, offhand sex, ‘nah, I’ve got a girl.’. Instead, the contemporary era of the newly formed ‘ladette’ is effectively portrayed, in which females have begun to both employ, demonstrate, and conform to the past stereotype of the ’male.’ ITV’s 2005 reality show ‘Ladette to Lady’, effectively emphasises this new found era, of both female promiscuity, and aggressiveness. Contestants similar to that of Rebecca Squire, act as a reflection of contemporary society, in which both a combination of alcohol, and negligent sex reflect the low values, morals, and expectations of the female gender. ‘I’ve slept with over 100 men, and lost count.’ [11]
Contemporary societies emasculation of the male, and in turn reinforcement of the female gender, is primarily portrayed within the initial fight scene of ‘Kidulthood‘, in which the first extreme bouts of violence witnessed, are exchanged between females. Victim ‘Katie’ is thrust within the classroom, dragged back by her hair and slapped back and forth, before a horrific blow to the centre of her face signifies the end of the ordeal. No sound other than the abusive, bellowing words of the bully ‘Debby’, and ripple of laughter at the virgin confessions of victim ‘Katie’ are featured throughout. This specific lack of sound , is specifically employed by director Menhaj Huda in order to convey the violent severity of the contemporary ‘ladette.’ Debby the abuser, conforms to the representation of the ‘ladette’, in which her masculinity is portrayed through her ruthless female aggression, she is fairly tall, large, and unattractive; and breaks the stereotypical boundaries of passive female anger. Therefore the ’ladette’ symbolises female bitching and backstabbing as renown trademarks of the past, in favour, now of a more physical approach. Mark Water’s ’Mean Girls’ released in 2004, reflects the era the ‘bitching’ femme fatal; The ‘ladette’, Debby, effectively contrasts against the representation of prestigious females ‘Cady Heron’, and ’Regina George’, aka ’the plastics’; who employ the use of their ’feminine Wiles’[12], in order to both bully and demoralise.
Laura Mulvey specifically refers to the specific use of these ‘feminine wiles’ of both ’beauty, charm, and sexual skill’[13] as tools, used merely to conform to the voyeuristic pleasures of men, and thus reinforce the foundations of a patriarchal society. Mulvey’s ’Visual Pleasures, and Narrative cinema’ 1975, refers to the concept of the ’male gaze’, in which the female audience are forced to identify as men; as women are reflected as mere ’sex objects’. ’Kidulthood’ categorically conforms to this representation of females, as simple objects of the ’male gaze’, as we witness Becky performing oral sex, and numerous other sexual encounters by both Claire, Becky, and Alissa. The females of ’Kidulthood’ are therefore portrayed in a polygamous light, stereotypically associated with men; as they pursue more than one sexual partner.
As well as this Menhaj Huda’s construction of the “Favours” for drugs scene, is used to in order to reflect the increasing promiscuity of teenage females, as well as raise awareness of sexual predators, with little regard towards the use of ’protection’. The audience is expectant of a young dealer, when Becky effectively states ’I know somewhere we can score some wicked draw.’, however instead is presented with the perverted, cheerful face of a middle aged man. As the girls enter the house, a slight discomfort is effectively established within the mind of the audience, through the young girls obvious prominence. Both Alissa, and Becky’s casual, shabby clothing, contrasts against the non-diegetic sound of classical music, clearly reflecting the drastic difference in both class and age. Both Becky, and Alissa casually occupy seats next to Hamish, an unattractive, middle aged, business man, before the suspicions of the audience are evidently confirmed. ’Rupert’, agrees to provide weed for free, however argues that the ’E’s and coke, are gonna cost ya’’, the audience is then presented with a closeup, perspective shot from Alissa’s point of view, whereby Becky turns; and smiles defiantly at the camera before stooping down in order to perform oral sex. The camera, thereafter momentarily lingers upon this act of ‘prostitution’, before diverting back to character Alissa, who succumbs to the peer pressure of performing a hand job, as Becky perceives her resistance as both ‘boring’ and unproductive. The exposure of this shocking underage sex epidemic, merely reflects the reality of society today, in which the ‘Teenage girls of Britain have the highest rate of pregnancies and sexually transmitted diseases (STDs) in Western Europe.’ [14]
Furtehermore, in relation to this, contemporary film ’Thirteen’, released in 2003, also demonstrates similar influences, and pressures evident within ’Kidulthood’, through the representation of key characters Nicky, and Tracey, who mirror both Becky, and Alissa alike. ’Thirteen’, centres around both the struggles of teenage youth, and a yearn for both excitement, love, and care, in which ‘Tracey’, aims to pursue through means of both underage sex, and drug abuse. Released within the initial years of the 21st century, ’Thirteen’ reflects the controversial turn of an era, whereby teenage females now conform to the same delinquency, and violence usually associated with male youths. This reflection of violence within society is claimed to have marked an era of ’girl power’, a equal, non stereotyped reflection of the female. However it is arguable, that new contemporary movies such as both ’Charlie Angels’, and ’Kill Bill’, questions whether this reflection of girl power, has evolved into a form of contemporary ‘girl violence’, evident within ’Kidulthood’. ’Thirteen’, effectively depicts the failings of society, in which the effects of family breakdown and instability are effectively portrayed through the actions of both Nicky, and Tracey alike. Similar to Becky, within ‘Kidulthood’, Nicky acts as the instigator of controversy, and therefore the negative influence of the pair, as she teaches Tracey to both disregard sex, drink, smoke, and indulge in temporary fixations, and adrenalines frowned upon within society.
Nicky’s influential power over Tracey, is further emphasised within the ’Makeout’ scene of the text, which effectively echo’s the relationship witnessed between Becky, and Alissa, within ‘Kidulthood’. The scenes use of dim candle lit lighting, and soft non diegetic music, effectively suggests an element of much expected intimacy, as both Tracey, and Nicky alike undertake the same actions in an attempt to pleasure the opposite sex. Tracey is passively influence by Nicky throughout the scene, and chooses to act off her own accord, in order to compete in terms of sexual experience, and capability. In contrast, Alissa is actively pressurised by character Becky, and sexually participates against her own preference. Catherine Hardwick’s ‘Thirteen’, therefore contrast against Menhaj Huda’s ‘Kidulthood’, as we are faced with a more sexually liberated depiction of female change, whereby key characters Nicky, and Tracey are represented as the more powerful gender. This is reflected through both the youths sexual positioning, on top of a man, reflecting them as the dominate gender; opposed to the inadequate representation of Becky on her knees.
However the drastic social misconduct of females is made apparent through the comparisons of both contemporary texts ‘Thirteen’ and ‘Kidulthood’, in relation to Nicholas Ray’s 1955 ‘Rebel without a cause.’ In which troubled youth Jim Stark, played by the infamous James Dean, reflects an era of both rebellion, and controversy through the influences of both ‘rock ‘n’ roll’, and ‘turf war’ rivalry. ‘Jim Stark’ portrays the social delinquency of youths, bored and in search of stimulation, possibility, and purpose, as he pushes away from the overbearing expectations of his mother and father alike. As well as this Nicholas Ray’s ‘Rebel without a cause’, also reflects a social pinnacle of the female, through the reflection of rebellious character ’Judy’, evidently straying from the traditional, domesticated representation of the female as the ’Madonna’. Instead, all three texts ‘Kidulthood’, ‘Thirteen’, and ‘Rebel without a cause’ reflects the ‘social annihilation’[15] of women, in which the liberated females within the text, are reflected in a negative light.
Bibliography
[1] Cohen- Folk devices, and Morale panic
[2] The Times Online
[3]The Times Online
[4] http://www.imdb.com/title/tt0125022/quotes- quote
[5] http://www.keltawebconcepts.com.au/ewommed1.htm
[6]Sarah Projansky-http://www.keltawebconcepts.com.au/ewommed1.htm
[7]Van Zoonan- http://www.keltawebconcepts.com.au/ewommed1.htm
[8] http://www.sexandthecityquotes.com/- quote
[9] http://www.aber.ac.uk/media/Students/hrb9701.html
[10] http://www.mirror.co.uk/news/tm_headline=minister--hoodies-just-keeping-warm&method=full&objectid=18364466&siteid=94762-name_page.html
[11] http://www.itv.com/page.asp?partid=6600
[12] http://en.wikipedia.org/wiki/Femme_fatale
[13] http://en.wikipedia.org/wiki/Femme_fatale
[14]The Times- June 29 2000- http://www.studentinfor.bizland.com/over16.chtml
[15] Tuchman 1978
From the recent introduction of the ASBO, to the more sentimental approach of the 'Hug A Hoodie Scheme', imposed by conservative leader David Cameron; it has become increasingly evident that Britain is at struggle with the changing reckless behaviour of the youths of today. Instead, contemporary society has recently raised the issue of morale panic[1] globally, through both hard hitting underage sex, and violence related headlines consistently overtaking the media, and thus in turn depicting the scandalous actions of the young. The youths of Britain have never been more focused upon then they have within this primary era, whereby the majority of civilians believe that we're all 'going to the dogs'[2], and regard Britain as ‘ a nation of yobs’[3]; and with statistics of both divorce, teenage pregnancy, and delinquency rapidly increasing; these remarks do not stand far from the truth. However, instead the era of felony, in which we now face, promises the 21st century youths of today, a combination of both dead romance, casual sex, and boredom. Whereby females, similar to that of ‘Becky’, within ’Kidulthood’ disregard sex as a ‘fuck’, breaking the traditional passive female stereotype renown worldwide. Instead our contemporary era, has now come to be a representation of the
The 70’s marked the beginning of this social change within society, whereby both females, and males alike, conformed to the representation of the ‘hippy’, focusing on the movements of both peace, love, and sexual liberation. However, it was truly the late 1950 era of both drugs and rock ‘n’ roll, that marked the changing behaviour of females within contemporary society; as the ’groupie’ acted as the glorification of open promiscuity, both disregarding and devaluing the importance of sex. This depiction of the‘lady’ thereafter, also constructed the later representation of the female, as the ‘gold-digger’; untrustworthy, cheap, and callous, valuing the means of money, over genuine affection. The 2001 hit ‘Heartbreakers’, featuring Jennifer Love-Hewitt, reflects these contemporary female intentions, and morals, whereby the girls are referred to as ‘gold diggin’ whores’, and adopt the same slapdash sexual intentions of men ‘if I were a guy, I’d do you’.[4]
However, key character ‘Becky’, constructs and represents a horrifying new portrayal of women, in which neither class, or intelligence is employed by the female gender in order to effectively manipulate, and deceive the male opposition. Instead, the liberation of women is demonstrated through shocking sexual misconduct, whereby ‘Becky’ drops down on to her knees, performing oral sex in exchange for both cocaine, money, and clothing. It is therefore arguable, that both key characters Becky, and Alissa, ’the vamps’[5], represent 'danger, sexuality and the possibility of independence'[6], as they cunningly seduce the male opposition, and use them as tools to succeed. ‘Kidulthood’ in contrast to David Mirkin’s ’Heartbreakers’, reflects this contemporary conduct of women and ’gold digger’s’ alike, as a display of both lack of class, and intellect; reinforcing instead a patriarchal society, in which the male gender appears superior.
This male superiority, is reflected through the representation of promiscuous character ‘Becky’ as ‘the whore’, dirty, rebellious, and in possession of numerous sexual partners, with little regard to either preference or standard. However it is arguable that this depiction of ‘the whore’ merely highlights further, female oppression within society, as central character ’Becky’, enjoys carefree, casual sex; traits typically associated with males. Instead, ‘the whore’ reflects the contemporary 21st century era of both female sexual liberation, and equality, breaking passive stereotypes, with active sexual advances. ‘Sex In The City’ in particular, reflects this modern day behaviour, demonstrating the acceptance of ‘the whore’ within Society through Van Zoonan’s branding of both the sexually active, and career focused female, as the ‘superwoman’[7]. However, although ’Sex In The City’s’, Sarah Jessica Parker, displays the same ‘whorish’ sexual advances as ’Kidulthood’s’, ’Becky’, ‘I will wear whatever and blow whomever I want as long as I can breathe and kneel.’[8]; ‘Carrie’ is instead portrayed in a positive, respectable light, due to both her age, air of maturity, and intellect; all traits in which ‘Kidulthood’s’ youthful, and naïve ’Becky’ evidently lacks.
This specific representation of females youths, as ’the whore’, in contrast to the mature female adult as ’the superwoman’, effectively reflects our contemporary societies fear of the young. Stanley Cohen’s , ‘Folk Devils and Morale Panic’ theory reflects this fear and consumption of both female and male youths alike, by society as "a condition, episode, person or group of persons [who] become defined as a threat to societal values and interests."[9] The contemporary media constructs a negative stereotype of the present day youth, through the stereotyping of both interests, appearance, and behaviour alike, perceiving hooded youths, as both troublesome, and disruptive. Authorities figures such as that of the Deputy Prime Minister John Prescott, reinforces this stereotype of the ’rebellious teen’, as he refers to ’hoodies’ as the ‘"uniform" of lawless teenagers.’[10] ‘Both Kidulthood’s central characters, Becky, Alissa, Trife, Jay, and Moony, therefore effectively conforms to the conventional present day ‘thug’ associated image of ‘the hoody’, as all five characters are featured sporting similar large hooded jackets, and caps. Menhaj Huda’s ’Kidulthood’ effectively reflects the moral panic of today’s youth culture, and in turn the ‘hoody’, through the false accusations of both theft and delinquency. Societies distrusting attiude towards youths is therefore effectively emphasised further through the prejudice actions of the guard, in which an element of racial prejudice may also be perceived. However, the justice, and fairness of the adult society is upheld within Kidulthood, through the defence of Trife by the honest female sales assistant; fairly young, and attractive herself, this Burberry shop assistant reflects the first positive reflection of the female within ’Kidulthood’, as the more reliable, truthful sex.
However, Menhaj Huda’s ‘Kidulthood’ also reflects an era of both cultural feminism, and role reversal, whereby the macho, polygamous stereotype of the male is challenged, and reflects instead the emasculation of men within contemporary society. This is specifically reflected through both bully ‘Sam’s’ forgiving nature towards cheating female partner ’Claire’, Trevor’s condemnation of extreme female violence, as well as ’Jay’s’ monogamous loyalty; as he turns down the offer of casual, offhand sex, ‘nah, I’ve got a girl.’. Instead, the contemporary era of the newly formed ‘ladette’ is effectively portrayed, in which females have begun to both employ, demonstrate, and conform to the past stereotype of the ’male.’ ITV’s 2005 reality show ‘Ladette to Lady’, effectively emphasises this new found era, of both female promiscuity, and aggressiveness. Contestants similar to that of Rebecca Squire, act as a reflection of contemporary society, in which both a combination of alcohol, and negligent sex reflect the low values, morals, and expectations of the female gender. ‘I’ve slept with over 100 men, and lost count.’ [11]
Contemporary societies emasculation of the male, and in turn reinforcement of the female gender, is primarily portrayed within the initial fight scene of ‘Kidulthood‘, in which the first extreme bouts of violence witnessed, are exchanged between females. Victim ‘Katie’ is thrust within the classroom, dragged back by her hair and slapped back and forth, before a horrific blow to the centre of her face signifies the end of the ordeal. No sound other than the abusive, bellowing words of the bully ‘Debby’, and ripple of laughter at the virgin confessions of victim ‘Katie’ are featured throughout. This specific lack of sound , is specifically employed by director Menhaj Huda in order to convey the violent severity of the contemporary ‘ladette.’ Debby the abuser, conforms to the representation of the ‘ladette’, in which her masculinity is portrayed through her ruthless female aggression, she is fairly tall, large, and unattractive; and breaks the stereotypical boundaries of passive female anger. Therefore the ’ladette’ symbolises female bitching and backstabbing as renown trademarks of the past, in favour, now of a more physical approach. Mark Water’s ’Mean Girls’ released in 2004, reflects the era the ‘bitching’ femme fatal; The ‘ladette’, Debby, effectively contrasts against the representation of prestigious females ‘Cady Heron’, and ’Regina George’, aka ’the plastics’; who employ the use of their ’feminine Wiles’[12], in order to both bully and demoralise.
Laura Mulvey specifically refers to the specific use of these ‘feminine wiles’ of both ’beauty, charm, and sexual skill’[13] as tools, used merely to conform to the voyeuristic pleasures of men, and thus reinforce the foundations of a patriarchal society. Mulvey’s ’Visual Pleasures, and Narrative cinema’ 1975, refers to the concept of the ’male gaze’, in which the female audience are forced to identify as men; as women are reflected as mere ’sex objects’. ’Kidulthood’ categorically conforms to this representation of females, as simple objects of the ’male gaze’, as we witness Becky performing oral sex, and numerous other sexual encounters by both Claire, Becky, and Alissa. The females of ’Kidulthood’ are therefore portrayed in a polygamous light, stereotypically associated with men; as they pursue more than one sexual partner.
As well as this Menhaj Huda’s construction of the “Favours” for drugs scene, is used to in order to reflect the increasing promiscuity of teenage females, as well as raise awareness of sexual predators, with little regard towards the use of ’protection’. The audience is expectant of a young dealer, when Becky effectively states ’I know somewhere we can score some wicked draw.’, however instead is presented with the perverted, cheerful face of a middle aged man. As the girls enter the house, a slight discomfort is effectively established within the mind of the audience, through the young girls obvious prominence. Both Alissa, and Becky’s casual, shabby clothing, contrasts against the non-diegetic sound of classical music, clearly reflecting the drastic difference in both class and age. Both Becky, and Alissa casually occupy seats next to Hamish, an unattractive, middle aged, business man, before the suspicions of the audience are evidently confirmed. ’Rupert’, agrees to provide weed for free, however argues that the ’E’s and coke, are gonna cost ya’’, the audience is then presented with a closeup, perspective shot from Alissa’s point of view, whereby Becky turns; and smiles defiantly at the camera before stooping down in order to perform oral sex. The camera, thereafter momentarily lingers upon this act of ‘prostitution’, before diverting back to character Alissa, who succumbs to the peer pressure of performing a hand job, as Becky perceives her resistance as both ‘boring’ and unproductive. The exposure of this shocking underage sex epidemic, merely reflects the reality of society today, in which the ‘Teenage girls of Britain have the highest rate of pregnancies and sexually transmitted diseases (STDs) in Western Europe.’ [14]
Furtehermore, in relation to this, contemporary film ’Thirteen’, released in 2003, also demonstrates similar influences, and pressures evident within ’Kidulthood’, through the representation of key characters Nicky, and Tracey, who mirror both Becky, and Alissa alike. ’Thirteen’, centres around both the struggles of teenage youth, and a yearn for both excitement, love, and care, in which ‘Tracey’, aims to pursue through means of both underage sex, and drug abuse. Released within the initial years of the 21st century, ’Thirteen’ reflects the controversial turn of an era, whereby teenage females now conform to the same delinquency, and violence usually associated with male youths. This reflection of violence within society is claimed to have marked an era of ’girl power’, a equal, non stereotyped reflection of the female. However it is arguable, that new contemporary movies such as both ’Charlie Angels’, and ’Kill Bill’, questions whether this reflection of girl power, has evolved into a form of contemporary ‘girl violence’, evident within ’Kidulthood’. ’Thirteen’, effectively depicts the failings of society, in which the effects of family breakdown and instability are effectively portrayed through the actions of both Nicky, and Tracey alike. Similar to Becky, within ‘Kidulthood’, Nicky acts as the instigator of controversy, and therefore the negative influence of the pair, as she teaches Tracey to both disregard sex, drink, smoke, and indulge in temporary fixations, and adrenalines frowned upon within society.
Nicky’s influential power over Tracey, is further emphasised within the ’Makeout’ scene of the text, which effectively echo’s the relationship witnessed between Becky, and Alissa, within ‘Kidulthood’. The scenes use of dim candle lit lighting, and soft non diegetic music, effectively suggests an element of much expected intimacy, as both Tracey, and Nicky alike undertake the same actions in an attempt to pleasure the opposite sex. Tracey is passively influence by Nicky throughout the scene, and chooses to act off her own accord, in order to compete in terms of sexual experience, and capability. In contrast, Alissa is actively pressurised by character Becky, and sexually participates against her own preference. Catherine Hardwick’s ‘Thirteen’, therefore contrast against Menhaj Huda’s ‘Kidulthood’, as we are faced with a more sexually liberated depiction of female change, whereby key characters Nicky, and Tracey are represented as the more powerful gender. This is reflected through both the youths sexual positioning, on top of a man, reflecting them as the dominate gender; opposed to the inadequate representation of Becky on her knees.
However the drastic social misconduct of females is made apparent through the comparisons of both contemporary texts ‘Thirteen’ and ‘Kidulthood’, in relation to Nicholas Ray’s 1955 ‘Rebel without a cause.’ In which troubled youth Jim Stark, played by the infamous James Dean, reflects an era of both rebellion, and controversy through the influences of both ‘rock ‘n’ roll’, and ‘turf war’ rivalry. ‘Jim Stark’ portrays the social delinquency of youths, bored and in search of stimulation, possibility, and purpose, as he pushes away from the overbearing expectations of his mother and father alike. As well as this Nicholas Ray’s ‘Rebel without a cause’, also reflects a social pinnacle of the female, through the reflection of rebellious character ’Judy’, evidently straying from the traditional, domesticated representation of the female as the ’Madonna’. Instead, all three texts ‘Kidulthood’, ‘Thirteen’, and ‘Rebel without a cause’ reflects the ‘social annihilation’[15] of women, in which the liberated females within the text, are reflected in a negative light.
Bibliography
[1] Cohen- Folk devices, and Morale panic
[2] The Times Online
[3]The Times Online
[4] http://www.imdb.com/title/tt0125022/quotes- quote
[5] http://www.keltawebconcepts.com.au/ewommed1.htm
[6]Sarah Projansky-http://www.keltawebconcepts.com.au/ewommed1.htm
[7]Van Zoonan- http://www.keltawebconcepts.com.au/ewommed1.htm
[8] http://www.sexandthecityquotes.com/- quote
[9] http://www.aber.ac.uk/media/Students/hrb9701.html
[10] http://www.mirror.co.uk/news/tm_headline=minister--hoodies-just-keeping-warm&method=full&objectid=18364466&siteid=94762-name_page.html
[11] http://www.itv.com/page.asp?partid=6600
[12] http://en.wikipedia.org/wiki/Femme_fatale
[13] http://en.wikipedia.org/wiki/Femme_fatale
[14]The Times- June 29 2000- http://www.studentinfor.bizland.com/over16.chtml
[15] Tuchman 1978
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