FINAL DRAFT!!!

Alliaya Khan

‘So I told him, brush your teeth after you lick me out.' -Becky
How is youth represented, especially females within contemporary media? - With specific reference to Kidulthood.

The hard-hitting ABSO introduced by the Police Reform Act in 2002, and sentimental 'Hug A Hoodie Scheme' proposed by the conservative leader David Cameron in 2006, represent just two of the laws enforced by the government, as an attempt to tame the reckless behaviour of youths. Our contemporary society has recently been overcome by the moral panic[1] of the teen, which as a result, has forced the government to address unresolved pending issues like sex, violence, and truancy. Headlines such as ‘Britain a nation of yobs[2]’ and ‘we’re all going to the dogs[3]’ therefore dominates the tabloids, and depicts the scandalous actions of the young; as recent statistics have exposed that a shocking 13/1000[4] marriages end in divorce and Britain’s youngest mum is aged just 11[5]. This new worrying era we now face, therefore appears to promise youths a combination of dead romance, casual sex, and boredom. The 2006 teen drama ‘Kidulthood’ depicts this approaching era, and reflects the social change evident between both genders through the key character Becky. A change in which past traditional stereotypes of the female are broken and the image of the ‘ladettete’ stands firm.

The 60’s arguably marked the beginning of this major change within society, as females and males alike conformed to the representation of the ‘hippy’. The hippy focused upon the movements of peace, love, and sexual liberation, and generally condemned both war and violence. However, it was perhaps the even earlier 1950s era of rock ‘n’ roll, that first marked a social change in the behaviour of young females; as women began to conform to the representation of the ’groupie’. The groupie glorified open promiscuity and disregarded the importance of sex, as females curiously began to explore their sexual freedom and power. Cameron Crowe’s 2000 movie ‘Almost famous’ depicts the fun loving, limitless attitude of the ‘groupie’ female, and reflects women’s changing views towards significant issues, like love and commitment. ‘Never take it seriously, if ya never take it seriously, ya never get hurt, ya never get hurt, ya always have fun.’[6] This depiction of the female, free from the chains of her past, passive stereotype, also contributed to their later representation 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 girls are referred to as ‘gold diggin’ whores’, and adopt the same slapdash sexual intentions as men ‘If I were a guy, I’d do you’[7].

‘Kidulthood’s’ key character Becky however, constructs and represents a horrifying new portrayal of women in which neither class nor intelligence is employed by the female in order to effectively manipulate the male gender. Females instead are liberated through the shocking sexual advances and undignified actions of Becky, who performs oral sex in exchange for both cocaine, money, and clothing. The ‘vamps’[8], Becky and Alissa therefore represent 'danger, sexuality and the possibility of independence[9]', as they cunningly seduce the males and use them as tools to succeed. They believe they are superior to the male gender, as they ‘prostitute’ themselves, benefiting both financially and sexually. However the male merely sacrifices money in exchange for the ’precious’ act of sex. This causes the audience to perceive females as the weaker, dominated sex, as men are portrayed as controlling women through money. Becky therefore represents the more contemporary perception of the female as ‘the whore’: dirty, rebellious, and in possession of numerous sexual partners, with little regard to either preference or standard.

This representation of female youths arguably however, highlights further the female oppression evident within society, as ‘Becky’ is ‘punished‘ for enjoying carefree, casual sex. The ‘whore’ therefore reflects a contemporary era of sexual liberation and equality, as passive stereotypes are broken with active sexual advances. This is shown through HBO’s ‘Sex In The City’, which reflects the promiscuous modern day behaviour of the female and thus demonstrates the acceptance of ‘the whore’. Carrie however is perceived not as a whore, but ‘superwoman’[10](Van Zoonan): intellectual, sexy, and ambitious, as she juggles both her demanding career with an active sex life. Yet although Carrie 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.’[11], her behaviour is instead accepted within society due to her age, air of maturity, and intellect. This therefore reflects societies prejudice towards the teen, as promiscuous grown women like Carrie are admired for their sexual activeness, however teenagers such as Becky are slandered.

Stan Cohen was the first theorist to address this prejudice towards the teen, his study of the Mods and Rockers in the 1960’s, led to the infamous ‘Folk Devils and Morale Panic’ theory. Cohen believed that young teens were presented in an unfair, negative way, and he perceived this societal indifference towards the teen and the government’s failure at controlling them, as "a condition, episode, person or group of persons [who] become defined as a threat to societal values and interests."[12] The contemporary ’hoody’, appears to be the most recent image to have established this fear within society, as authority figures, such as the Deputy Prime Minister John Prescott, refer to the ‘hoody’ as the ‘"uniform" of lawless teenagers‘[13].This is made evident within ’Kidulthood’ through the male characters Jay, Moony, and Trevor, as they are falsely accused of stealing from Burberry and are continuously watched whilst shopping. All three characters conform to the stereotypical image of the rebel ‘hoody’ and are therefore suspected by society, as thieving, dishonest and troublesome; and with 1/5[14] youths accounting for 750 000[15] shoplifting crimes within the UK, is this disapproval of the ‘hoody’ infact just, or an unfair representation of youths?

An era of cultural feminism is therefore portrayed within ‘Kidulthood‘, as contemporary teenage females now also conform to the same stereotypical image of the hooded male. Females now employ and adopt not only the same attitude and violent mannerisms as men, but also the same appearance, and language. This is reflected through the opening fight scene, which takes place between a gang of female bullies and their suicidal victim Katie. The first bouts of violence are exchanged between women and reflect the changing gender roles of society, as the past stereotype of the ’Madonna’[16]; pure, maternal, chaste, and modest, is challenged by the ’future girl’[17]; ’who is ’desirable, determined and confident.’[18]. Debbie, Becky, Claire, Alissa and Katie act as reflections of this ‘future’ female, yet none of the girls reflect these admirable qualities. Instead, Debby both bullies and dominates to feel powerful, Claire remains within an abusive relationship to feel secure, Becky pursues consistent sex in order to feel wanted, and finally Katie takes her own life to escape the abuse of her bullies. Only the pregnant female Allisa, who conforms to both the ’Madonna’, as well as the ’future girl’, is admired, as she remains strong and is guided throughout by her maternal instincts.

Furthermore whilst the majority of girls are presented within ’Kidulthood’, as ’ladettes’; boisterous, assertive and crude; the macho, polygamous stereotype of the traditional male is subverted. Jeffords states that males are instead presented within contemporary film as ‘self-effacing men, who now, instead of learning to fight, learn to love.’[19] This is reflected through the bully Sam, as he forgives his unfaithful partner Claire, the character Trevor, as he confesses his love for his pregnant girlfriend Alissa; as well as through Jay, as he demonstrates his loyalty towards his girlfriend and rejects the offer of offhand casual sex. David Guantlett’s ‘Media, Gender and identity’ argues that this change in the behaviour of both genders is a due to the flourishing career of women. He believes that the males has instead been left sensitive and unaware of their roles within society, as the majority of ’wives now bring home the bread’[20], whilst husbands have been left ’to cook in the kitchen.’[21] This further raises questions as to whether we are still living within the hegemonic patriarchy of a ‘man’s world’[22] and forces us to consider whether feminism has in actual fact ‘taken over.’

However the role of the woman, unlike men is clearly outlined within society through Sue Thornam’s ’Feminist film theory’[23] as she subcategorises the female into three significant representations, ‘ the cinematic representation, the figure of the real life woman, and the figure of the feminist theorist.’[24] Women are therefore distinguished between their roles within the home, within film, and as a provider. Haskell and Rosen focus on the women as ’a cinematic representation’ and argue ‘that film mirrors how society treats women, and that these depictions are distortions of how women ‘really are’ and what they ‘really want.’[25] This statement therefore disregards the idealistic criticism that brands ‘Kidulthood’, as both ’ Ugly and unrealistic’[26]; as the film, according to the ’reflection theory’[27]is inspired by the influences of surrounding society and it’s youth culture. Therefore characters like Becky, act as shocking reflections of the truth and represent instead the zeitgeist of the ’ipod generation’[28]; ’insecure, pressurised, overtaxed and debt-ridden.’[29]

Majorie Rosen’s ‘Popcorn Venus’[30] however, suggests that Menhaj Huda’s representation of women within ‘Kidulthood’ is a infact a misrepresentation, as she perceives movies as ‘a form of popular culture’, used simply to ‘alter the way women look at the world’ and instead ‘reflect how men intend to keep it.’[31] A patriarchal society is therefore reinforced within Kidulthood, as Huda ‘constructs the image of the woman within film by men, for a male spectator[32]’. He appears to represents females in a negative way only, punishing them for their sexual lust and vigour. This is reflected through the unresolved tragic narrative of the text, as the plot of ’Kidulthood’, according to Todorov, fails to reach a satisfying ‘equilibrium’[33]. Instead, Claire returns back to her abusive boyfriend who regards her as a ’shit fuck’, Alissa’s left devastated at the death of her unborn child’s father, whilst Becky is left drunk and alone.

The female strength of the characters Becky, Claire, and Alissa are therefore challenged within ‘Kidulthood’, as the ambiguous open narrative of the text, leaves it unclear as to whether they overcome their misfortunes and live up to the expectation of the strong, ruthless ’ladette’. The ‘ladette’ represents ‘what we are, what we were, and what we could, should, or do not want to be.‘[34] Menhaj Huda however, portrays this contemporary stereotype of the female as a representation we do not wish to conform to. He demonstrates the image of the ‘ladette’ through the character Debby, whom is fairly tall, large, and unattractive and breaks the stereotypical boundaries of passive female anger, with a mixture of right hooks, punches and uppercuts. This female aggression therefore reflects female bitching and backstabbing as trademarks of the past, with girls in favour now, of a more physical approach. Mark Water’s ’Mean Girls’ released in 2004, reflects the previous stereotype of the typical woman as the bitching ‘femme fatal’; alluring, seductive, charming and deceitful. The main characters ‘Cady Heron’, and ’Regina George’, aka ’the plastics’ employ the use of their villainous characteristics and ’feminine Wiles’[35], in order to both bully and demoralise their victims; unlike the ’ladette’ who simply attacks.

Laura Mulvey specifically refers to the use of these ‘feminine wiles’ of ’beauty, charm, and sexual skill’[36] as tools used merely to conform to the voyeuristic pleasures of men and thus reinforce the foundations of a patriarchal society. Mulvey argues within her 1975 ‘Visual pleasures and narrative cinema’ paper, that women are merely used as objects of the ‘male gaze’ within film; and like Freuds own theory of Scopophilia are perceived as ‘objects to be looked at rather than subjects with their own voice and subjectivity.’[37] Females are therefore forced to ‘transexually identify[38]’ as men, as they possess the more active, dominant, exciting roles onscreen. However still, Mulvey argues that the woman ‘remains restless in her transvestite clothes’[39], bored of her own representation as a inactive, helpless character and instead in search of a more compelling image.



This new exciting representation of the female teen was first made evident within Catherine Hardwicke’s 2003 hit movie ‘Thirteen’. It features, like Becky and Alissa, two young ’vamps’, who’s friendship is based upon the basis of drugs, sex, and money. Hardwicke, depicts through the troubled lives of the two teens, a change in the representation of the female as a passive figure. Instead, the much yearned for madness, lacking in other previous reflections of the female gender, is fulfilled through the spontaneous and unpredictable behaviour of Nicky and Tracey. They pierce their tongues, skip school, snort cocaine, consume alcohol, and make out with ’hot’ boys as a way in which to escape the futile reality of their own lives. Both characters also conform to the many negative representations of female youth as the ’whore’, ’femme fatale’, ’ladette’ and ’vamp’. Nicky, and Tracey therefore reflects the ‘social annihilation’[40] of women, as they are represented in a negative light only, due to their promiscuous nature and disruptive attitude. They are the ultimate definitions of the bad teen, as Tracey represents the character of a good girl gone bad, influenced by the evil that is the teenage ‘whore’. ‘Would you like me to model my new thong? Great for poppin’ on the go!’[41]

However, ‘Thirteen’ unlike ‘Kidulthood’, reflects the contemporary turn of an era and age, in which females are just beginning to learn to live independently and without the influence of a male, as a father figure or within the home. Within 2003, an astonishing 153490[42] divorces took place within the UK, and an incredible 1.9[43] million single parents in 2005, made that decision to ‘go it alone.’ Tracey’s outrageous behaviour within ’Thirteen’ seems to stem from this very fact, the breakdown of her family, in which she finds it difficult to cope. The only male influences left present within her life are her brother ’Mason’, as well as her mothers crack cocaine boyfriend ’Brady’. Traceys motivation to therefore become an independent, defiant teenager derive from these two major factors of a fatherless home as well as the imminent threat of a potential, unwanted fatherly figure. She therefore models herself on the representation of the typical rebellious ’whore’, in order to attract the male towards her sexually and thus conceal her own evident vulnerability. She demonstrates her own sexual power and authority over the male through her dominant positioning, in which she places herself on top of boyfriend Java, and continues to make the first sexual advances. It is therefore arguable that ’Thirteen’ infact provides us with but one of the first glimpses of the ’future girl’, as Tracey finds the determination and confidence to pursue her own desires. However, unlike Tracey, ‘Kidulthood’s central character Becky, who demonstrates the same whorish actions is emasculated by the male through her own demoralising sexual positioning; as we witness her on her knees, beneath the male, whilst performing oral sex.

The earliest representation of the rebelling female however, is arguably depicted within Nicholas Ray’s 1955 ‘Rebel without A cause’, as ‘Judy’, the girlfriend of the main character ‘Jim Stark’, played by the infamous James Dean; strays from her traditional, domesticated representation as the ‘Madonna’. ‘Judy’ follows Jim as he ‘turf wars’, joy rides, commits numerous crimes and attempts to run away from home, as she feels rejected and unloved by her unaffectionate parents. The strict values of the 1950’s are instead depicted through this text, as it was socially unacceptable for the passive female to be over boisterous, loud, and display their physical affections openly. This is reflected through the relationship between both Judy and her father, as when she attempts to embrace her father in a hug, he directly pushes her away, outraged by her intentions. ‘Rebel without a cause’, therefore offers a simple explanation for the present day representation of youths, as females starved of affection by their parents, now search for love through sex. The psychologist Baumrind assessed the affect of this ‘firm, punitive, unaffectionate[44]’ parent upon their children and found that they were ‘discontent, withdrawn, and distrustful[45]’. It is therefore arguable; that the affects of family breakdown have infact created the horrific image of the contemporary female we are now faced with today.
In conclusion, modern society offers only two representations of the teenage female, as the boisterous ‘laddette’ and unruly ‘whore’. These images in our current society have forced us to acknowledge, witness, and tragically accept this negative stereotype. Menhaj Huda’s Kidulthood’, and Catherine Hardwick’s ‘Thirteen’, therefore merely reinforces the values of a patriarchal society, as females are represented as objects of the ‘male gaze’, used only to obey the sexual needs of men. This therefore reinforces the belief that it is infact and always will be, despite the development of gender equality, ‘a man’s world’in which females simply exist.
[1] Stanley Cohen(2002): Folk Devils and moral panics: The creation of Mod’s and Rocker’s, Routledge
[2] http://www.timesonline.co.uk/tol/news/uk/
[3] ibid
[4] http://www.statistics.gov.uk/cci/nugget.asp?id=170
[5] http://www.statistics.gov.uk/cci/nugget.asp?id=170
[6] http://www.atlyrics.com/quotes/a/almostfamous.html- quote
[7] http://www.imdb.com/title/tt0125022/quotes- quote
[8] http://www.keltawebconcepts.com.au/ewommed1.htm
[9] Sarah Projansky-http://www.keltawebconcepts.com.au/ewommed1.htm
[10] Van Zoonan- http://www.keltawebconcepts.com.au/ewommed1.htm
[11] http://www.sexandthecityquotes.com/- quote
[12] http://www.aber.ac.uk/media/Students/hrb9701.html
[13] http://www.mirror.co.uk/news/tm_headline=minister--hoodies-just-keeping-warm&method=full&objectid=18364466&siteid=94762-name_page.html
[14] http://news.bbc.co.uk/1/hi/uk/308488.stm
[15] ibid
[16] http://en.wikipedia.org/wiki/Madonna-whore_complex- Freud
[17] Anita M Harris (2004): Future Girl, Routledge
[18] ibid
[19] David Guantlett(2002): Media, Gender and Identity, Routledge
[20] http://media.www.michigandaily.com/media/storage/paper851/news/2002/03/13/News/Wives.Bring.Home.Bread.As.Husbands.Cook.In.Kitchen-1402781.shtml
[21] ibid
[22] http://newsbusters.org/node/12245
[23] Susan Thornham(1997): Passionate Detachments: An introduction to Feminist film theory, Arnold Publishers
[24] Pam Cook(1993):Women and Film, Temple University Press
[25] John Hill and Pamela Church Gibson (1998): The oxford guide to film studies, oxford university press
[26] http://imdb.com/title/tt0435680/usercomments?start=23
[27] Pam Cook(1993):Women and Film, Temple University Press
[28] http://news.bbc.co.uk/1/hi/uk/4172960.stm
[29] ibid
[30] Majorie Rosen (1973): Popcorn Venus: Women, movies and the American dream, Coward, McCann & Geoghegan
[31] ibid
[32] Pam Cook(1993):Women and Film, Temple University Press
[33] http://www.primary-film-focus.co.uk/narrative.html
[34] Susanne Kord and Elizabeth Krimmer(2005): Hollywood Divas, Indie Queens, and Tv Heroines: Contemporary screen images of women, Rowman and Littlefield
[35] http://en.wikipedia.org/wiki/Femme_fatale
[36] http://en.wikipedia.org/wiki/Femme_fatale
[37] http://www.cla.purdue.edu/English/theory/narratology/terms/scopophilia.html
[38] http://www.let.uu.nl/womens_studies/anneke/filmtheory.html
[39] ibid
[40] Gaye Tuchman 1978- http://www.answers.com/topic/symbolic-annihilation
[41] http://www.imdb.com/title/tt0328538/quotes
[42] http://www.999-life.com/divorce-rate.html
[43] http://en.wikipedia.org/wiki/Single_parent
[44] http://www.drspock.com/article/0,1510,5913,00.html
[45] ibid

Account for the popularity of one genre of your choice. Illustrate you answer with examples.

Introduction:
Slasher Film Genre, popular because:
- causes the audience to feel extreme fear
-stereotypes challenged
-reflects the changing zeitgeist
-surprises, shocks, through unexpected twists/exposures
-Fufils audience expectations
-The dangers continoisly evolve, and change- intrigues and excites audince
Paragraph One:
Texas Chainsaw Massacre- we are forced to empathise with the teenage characters, as we identify with them through the same likings, and attitude. Therefore we also experience the same fears, and anxietys as the teenagers, and feel as if we are being chased or have been captured by the killer. Subjects the audience to extreme fear, causes us to imagine the fear the actual victims were subjected to.
Paragraph Two:
Scream's final girl after having sex, does not die, subverts stereotypes and demonstrates the acceptance of the whore. Contradicts typical representation demonstrated within 'Nightmare on Elmstreet' where the primiscuos female is the first to die, and the final girl survives through her innocence and wit.
Paragraph Three:
Halloween, reflects danger with a more human face. Killers instead of being represented as psycho's and murders, now take on a more human form, with a human face. This scares and intrigues the audience, and accounts for some the slasher genres growing popularity. As the killers are continouly changing, and shock the audience. Therefore it is more intriguing each time to find out who the murderer is.

Recent developments in genre have included the emergence of paradoy, pastiche and hybrid forms. Show how such developments have influenced the nature of media texts.

Introduction:
Previous movies suchas a 'Nightmare on Elm Street', had been followed by sequels such as 'Freddy's New Nightmare', which uses postmodernism to downplay the fear of the text, and replace this fear with laughter.

The audience may know what to expect, but are we still excited by genre texts?

Introduction:
Audience want their expectations to be fufilled
Same conventions used within Slasher movies fore example, however stereotypes subverted etc to represent the changing zeitgeist.
Excites the audience, as the movies reflect change, e.g the liberation of women, the emasculation of the male etc.
Also new element used alongiside the conventional elements of movies, for example post modernism which mocks the text, the audience know what to expect but it is made more lively, and effective as the directors incorporate humour into the texts.
Same conventions, yet audience are excited by different characters, who they can find new ways to relate to

Paragraph One:
Texas Chainsaw Massacre- final girl survives, represent the changing zeitgeist, as females have become more powerful. This excites the audience as they are presented with a new main character, a strong, successful female; who outwits the male monster.

Paragraph Two:
Scream: Girl survives after having sex, represents societys changing attitude towards sex, it has become more acceptable. This initially shocks the audience as the primiscous female conventionally dies within the first few minutes of the film. Therefore scream represents contemporary acceptance of the 'whore.'

Paragraph Three:
Scary Movie: Postmodernism and intertextuality used within the film, it mocks the conventions of a slasher film genre. The audience know what is exactly going to happen, as Scary Movie, uses different parts of various slahsher films, however mocks the narrative of the story. The scream mask is just one of the conventions parodied within the text, it features the murder sniggering behind the sofa, while the typical blonde bimbo, repeatidly ask on the phone so where are u? The audience are entertained through this postmodernism as it creates a different approach towards the slaher film genre, and replaces fear, with laughter.. either way it makes the audience feel an EXTREME emotion.

Evaluation!!!!!
1. How easy has it been to set up your Independent Study blog and to get used to posting things on it? Were you given enough support in doing it? What other help would have been useful?

It's been very easy setting up my own blog, although I know my postings werent as regular as they shudve been, when i did post up research.. it was alot.. and very necessary. No other help was necessary...and there was definetly enough support.. but mayb not enuff reminders about the deadline!!

2. How did the blog help with your research? Did the blog motivate you to do more and better research? How? Why?
The blog allowed me to post my research up anytime i needed to.. no matter how late. its easy, and accessible.

3. Is it useful having all the Independent Study/blog tasks posted on the Macguffin blog? Does it make it more likely that you will get them done?
Yes, its very useful.. as you know that you have all the necessary information you need to begin, and you can also keep reffering back.

4. How often (honestly!) do you check the Macguffin blog? (Remember, it should be at least twice/week).
Yes, i check it atleast once or twice a week... honest!

5. Has it been useful being able to see and access everyone else’s research and planning through their blogs?
It has been useful.. cause it also gives you a rough guide of how much reseacrh you shudve done by now aswell.

6. How do you feel about the fact that your teacher can keep a close check on your progress through accessing your blog? Is it too intrusive and controlling or is it encouraging and supportive?
I don't find it intrusive, as teahers can leave comments telling you what you need to do.. it helps

7. How useful have the comments been that you received from…a. Macguffin, b. other students.
I haven't really recieved many comments from other students, as im nt doing similar texts.. but comments i have recieved are usefull.. and usually about the work..

8. How has the blog helped with your essay planning? How useful was the blog when it came to writing the essay? Do you think your first draft is better because you have used a blog?
The blog was useful.. as it reminded me of all the points i can use... even when i was struggling to reach the word count!!

9. How would you evaluate the quality of your blog? What could you have done better?
My blogs not very preety... but it is informative!

10. Do you think you will get a better final grade for your independent study through having used a blog?
Probably.. otherwise all the information i needed to use would have been disorganised... or lost!

11. Which are the best three blogs? Why?
Alice, Ashley, and Jatinders
There all well presented, interesting, and informative
12. Do you think next year’s Year 13s would benefit from setting up an Independent Study blog?
Yes definetly, it helps organise your work, and ideas

13. Are there any negative aspects to preparing for an Independent Study using a blog?
No.
14. What could be done to improve teaching and/or learning in future through blogs?
Maybe more comments from the teacher.. otherwise you forget to post up regularly

15. Overall, are you pleased that we used blogs? Has it been interesting and enjoyable? Why? Why not?
Yes.. its been interesting seeing how far everyones ideas have developed.. and comparing your own work.

“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

SELF EVALUATION

Attainment: 2, I feel i can definetly work harder in lessons, as well as at home; However I do feel i definetly understand what I am studying within lesson, and feel I am able to contribute confidently as a result.

Effort: 2, As I said I feel I could definelty work harder, however make an effort to understand and complete the task given.

Punctuality: 3, although I am always in lesson, sometimes I attend late.

Submission and quality of homework: 3, Lately I feel I havent completed work to the highest standard, and feel I could work harder.

Ability to work independently:1, I am definetly capable of working on my own, however do realise that I get distracted, but I have work continuously upon my independent study.

Quality of writing: 2, Although I know I have poor expression, I do write using media literate
terms etc.

Organisation of Media folder:1, My media folder is extremely organised, and contains all hand outs, written work, and past essays.

Oral contributions in class:2, I do contribute in class when I feel necessary, however know I contribute more regularly.

How are teenage females represented within the 21st century?
-With specific reference to Kidulthood

Societies destructive nature has recently raised awareness worldwide globally through the rise in juvenile crime, intake of drugs, and underage sex; From the recent introduction of the ASBO, to the more sentimental approach of the 'Hug A Hoodie Scheme', a struggle within society has evidently been portrayed and has raised moral panic towards the 21st century youths of today. Youths have never been more focused upon then they have withint this primary era, whereby the majority of civilians remark that we're all 'going to the dogs', expressing there pessimistic aattitude towards the future. However, the root cause of this delinquency is so easily avoided, and continously changaing roles, and expectations within society may leave youths feeling both dispondent and unmotivated. The root cause for the majority of the behaviour of teenage females, and males alike usually derrange from poor family communications, or breakdown. Aswell as this a lack of stimulation within society that requires little money, is also pratically non-existent. Therefore has socity infact self created the era we all live within today? Most youths are infact bored and in search of purpose within soceity, and this is represented through the almost uniformed attire, of hoodies, and caops. Furthermore, however females are as Mulvey states 'objects of the male gaze', whereby in both contemporary text 'Kidulthood', 'Thirteen', and haistorical text 'Rebel without a cause', the females are merely in search of pleasing a male. More contmeporary reflections however arguably present females as a liberated free gender, wherby the use men merely as tools to succeed.

Pciture reflects the portrayal of 21st century teenage girls within society:


Other Contemporary Texts, alongside 'Kidulthood'!!
THIRTEEN, rebellion of two teenage girls, focuses on changing representations, and roles within society... root cause- FAMILY BREAKDOWN.

Historical Text- 'Rebel without A cause', focuses on the early representation of cahnging roles of teenagers within society.. 1955.

Essay Plan:
How Are Teenage Girls Represented Within The 21st Century?
- With Specific Refrence to 'Kidulthood'

Overall my independent study focuses primarily on the concepts of social change and attiude within our contemporary society, and through plentiful research, and other links of relevance, the reasons and explanations surrounding the behaviour of teenage female youths within the 21st century society has beome more understandable, acknowledgable, and disturbingly interesting. I have specifically chosen to refer to 'Kidulthood', as my primary text, as it reflects teenage girls in the most disturbing light, in which I am also aware. Instead an era of rebellion, and female change is reflected within 'Kidulthood', presenting a harsh reality, in which females no longer posses the traditional nuturing roles within society. However instead, a masculine, violent, feminist, angry, chauvinsitic, and cruel persona, 'Kidulthood' portrays a very different female expectation raising both shock, controversy, and an element of morale panic towards the issues inevitably facing our 21st century society. Reflecting an era of tragedy, violence, disrespect, and family breakdown, 'Kidulthood' portrays a downward spiralling future, which evident within recent society schemes suchas 'Hug A Hoodie', are failing, and leading youths closer towards a depressive future of drugs, sex, alcohol, early pregnancy, and family breakdown. However the reasons for this era of depression?? I discovered within texts suchas Nick Barhams 'DISCONNECTED', which portrayed instead a society of technology and boredom, whereby youths lack interest, and traditional hobbies and past times that resorted in socialising, and events that constructed family life, cultural, and community spirit. Instead our 21st century era of television, and easy technology has inflicted upon society both lazyness, and alack of motivation, and determination to suceed.


Other TExts- Another contemporary texts I have used to study and compare against the representations of 'Kidulthood' is the 2001 teen movie 'Thirteen' which focuses on the same issues, and social change surrounding teenage females today. Similar to 'Kidulthood', 'Thirteen' portrays the evolving representations of female youths, and like 'Kidulthood' includes sexual scenes, fuelled bu drugs and alcohol; However also upon one very influenced individual who succumbs to peer pressure, and resorts to self harm, due to the break down of her family. All these issues are similar portrayed within 'Kidulthood', and provide a basis in which direction to primarly explore and focus on within my independent study.

Teenage females are represented within the 21st century as pursuing the same lifestyle as men in order to gain social equality, this is portrayed within 'Kidulthood', through the teenage females persuit of sex, and physical strength equal to a males. Instead males are reflected within 'Kidulthood', as more morally correct, and caring; As Trevor condemns extreme female violence, and Sam finds it hard to abondon his cheating girlfriend.

-Feminism, the main focus of my independent study is ofcourse the liberation of women, and their fight in persuing equality to men. Within Kidulthood however a more contemporary extreme of feminism is depicted, as we are faced with a form of adverse cultural feminism. Cultural feminism refers to the obvious differences between man, and women, and the differences in personality traits, aswel as physical attributes. However these differences are thought of to be 'rubbed off' onto the other sex. For example a females more caring, nuturing nature may 'rub off' on to the other gender, and these differences therefore attract the two genders to one another. However within todays contemporary society and the reflection of teenagers within recent films suchas 'Kidulthood', and 'Thirteen', these traits are no longer evident within the 21st century female youths of today. Nuture, care have instead been replaced with anger, and violence, thus reflecting a more contemporary form of feminism, wherby females possess masculine traits in order to demonstrate their liberation and freedom. However, wherby some may view this as an act of female liberation, and equality others view behaviour witnessed within 'Kidulthood', as once again the representation of a patriachial sociaty. Whereby females preform sex in order for drugs controlled by males etc, however is this the reflection of a patriachial society once more? Or is this the behaviour of 21st century female girls instead a reflection of contemporary feminism, wherby the outsmart, and outwit males, through feeling sexually liberated, and equally physically powerful?


Theorist: Laura Mulveys theory towards both women and men is definetly relevant to my own independent stud on Kidulthood, as I am focusing on the representation of female within the 21st century. Luara Mulvey refers to the male gaze, in which women are viewed as mere sex objects, this is definelty applied to my text 'Kidulthood', as female girls are witnessed preforming sexual acts upon men. The girl is placed in a devalued position, and in one scene is on her knees before the man, whilst she preforms oral sex. The positioning of this female onscreen highlights the authoritive/powerful representation of men, and enforces patriachial views/society. Furthermore refernce towards women as both whores/madonnas is aso necessarry within my own text. As well as this Mulvey focuses on Sigmeund Freuds own theories towards women. This can also be applied to the 'kidulthood' text as it offers explanation towards the delinquency witnessed within 'Kidulthood', as some of the main charcters we follow onscreen(Trevor), are from single parent families. This inturn emphasises contemporary scoiety, as an era of misguidance, lonilness, and conflict. Sigmeun Freuds theory represents that the children have lacked from an early stage his theoratical development in which it is necesary for the child to larn their own position within the family.


Speech, and dress code
The way females are portrayed as speaking and dressing within 'Kidulthood', mimicks once more the way the males act and behave also. Using slang suchas 'innit', 'sket', 'bitch', and 'hoe'. All these words are abusive towards the female gender, yet..... the females use them agiainst each other within the film. This portrays instead a patriachial society wherby male control is indicated within even speech and dress code. The traditional 'respectful' manner of a female instead is totally demolished and desecrated within 'Kidulthood', as it portrays females not only speaking similarly to male youths; However also dressing within the same attire, of big, furry hooded jackets, to caps, and trainers, the 'typical' look. The traditional female associated dress code, of skirts, dresses however is completly avoided, or portrayed in a revealing, distasteful manner. Therefore once more, feminism, female liberation, 'girl power' is demonstarted through mimicking male conduct, wherby equality with men is persued in order by female youths possessing strong male traits. Also within Nick BArham's 'DISCONNECTED', contemporary female behaviour also focuses around females being part of a crew, gang. However historically, and traditionally males typically are part of/conduct a gang/crew, as it consists of violence, and abuse, areas of life that the female was usually sheltered from in order to raise/conduct a strong family life. Furthermore, the craze of large hoddies, caps, and trainers providing unisex fashions, also signifies the unoriginality present within sociey today, and the desperate need for stimulation and change.

HiStOriCaL TeXt!!!

'REBEL WITHOUT A CAUSE' (1955)
Starring: James Dean
Directed by: Nicholas Ray
Rebel wthout a cause, similar to our 21st centrury representation of society within Kidulthood, aims to reflect the changing behaviour of American society, through the journey of star character James Dean, against the struggle against a new area, new gang, his love interest, and critaical parents. Rebel Without A cause, offers explanation behind the motives of such desturctive behaviour resulting in a car crash tragedy, and the struggle against his conscience, and the words of his disfunctional family. Throughout the historical 1955 movie, the continous theme of family mishap runs strong, with consistent reference aimed towards the fact that 'nobody listens', portraying a weak family bond as the root cause to such rebellious actions. Violence within the movie appears to be stimulated by boredom, and ofcourse to create a strong impression infront of females. This results similar within Kidulthood to use of knives, guns, and the even more poignant death of an innocent. Tregedy strikes from all around within James Deans 'Rebel without A cause', and strongly reflects upon a changing society as does 'Kidulthood'. Furthermore the representation of females within the movie, are merely for the male gaze, and therefore females act as the passive characters overall; With the majority of action surrounding around the males of the plot. The females within the 1955 movie, are merely reflected upon as love interests, and moreover as a 'trophy', to be fought for and won. Therefore LAura Mulvey's theory refering towards the 'male gaze', is completly appropriate towards such a text, similar to 'Kidulthood.'

A few quotes from the film, stongly convey a sense of no direction, purpose, and stimulation, the common cause for such behaviour.

Buzz(to Jim): "You know, I like you. Jim: Why do we do this? Buzz:Well, You gota do something. [Refferences both the male posturing(arguably, the theme of greatest relevance in the film) and the aimless or perhaps "causeless" nature that inspires their behavior.

Nobody talks to children. No, they just tell them.

If I had one day when I didn't have to be all confused and I didn't have to feel that I was ashamed of everything. If I felt that I belonged someplace. You know?

- Wickepedia

Below links to the 1955 trailer of 'Rebel without a Cause'
http://www.imdb.com/title/tt0048545/trailers-screenplay-E20418-6-3

'Self-Directed Research'

Throughout my independant study the one book that I felt offered explaination, and explored further the reasons and explainations behind youth societies social change, and attiutde was Nick Barham's: DIS CONNECTED- why our kids are turning their backs on everything we thought we knew. It offers a multitude of perspectives, and refers in detail back to schoking events that have actually raised moral panic within society over the behaviour of teenage youths. From the recent introduction of the ASBO, and the even more contemporary 'HUG A HOODIE' scheme, the book reflects the failings of our society. Instead offer more deeper shocking areas of interest, from the personal enteries uploaded onto the interenet of youths in search of sex, to the warped reality focusing around the entertainment of computer games; NIick BArhams 'DISCONNECTED' reflects a violent, over-technologised era, where everything is too easy, and accessble.

The other book I am mainly going to be focusing on throughout my independent study is Ariel Levy's 'Female Chauvinist Pigs', it focuses on the way in which women conduct themselves within contemporary society, and condemns women for their actions in an attempt to be 'equal'. Instead questions are raised in relation to which contemporary society is changing once more, and through the scenes witnessed within Kidulthood, the 'sex in exchange for drugs scene', posted up as a link further down the page, demonstrates the books obvious relevance!!!!!!!!!

10 KeY WordS In relation 2 Kidulthood:
1.Realism: A film and television style that attempts to represent the real world.
Concepts of realism are governed by recognisable codes and conventions which change over time.
2.Public Interest: the claim that general public concern and the 'need to know' provide justification for a type of media coverage of behaviour and events which might otherwise be seen as intrusive and invasive of the privacy of individuals or organisations.
3.New Ladism: term applied to the male backlash against feminism and girl power, as exemplified by the values represented in magazines suchas 'Loaded', FHM, and Maxim.
4.Moral Panic: Concept devisesd by Jock Young and developed by Stan Cohen to explain the way in which media focus on the behavior of a social group or an event can be inflated by sensational reporting and the repeated use of stereotypes, leadiang to public overreaction or panic at a supposed threat to society.
5.Stereotype: the social classification of agroup of people by identifying common characteristics and universally applying them in an often oversimplified and generalised way, such that the classification represents value and judgements and assumptions about the group concerned.
6.Status quo: MAinstream media repressentations tend to support a status quo view of human life, particularly with regard to socioeconomic power structures and many aspects of cultural behaviour.
7.Social Realism: the representation of characters and issues in film and television drama in such a way as to rase serious underlyingsocial and political issues. Social realism involves a drama-documentary treatment in the sense that, while the characters may be fictional, the contexts and circumstances in which they are placed represent existing social realities.
8.Youth Culture: any range of youth subcultures from the 1950's through to the present day, including aspects of dress, behaviour, music preferences, and relationships.
Whitehouse, AMry(1910-2001): a populist campaigner against sex and violence on televison; She was an ordinary housewife, condemened sexual explicit, and films of a violent nature, as she beleieved they posed a threat to traditional family values, raised moral panic.

One Of The Clips From Kidulthood, Focusing On The Representation Of Teenagers Girls Within The 21ST Century!! Comparing This Content To An Earlier Historical Text, Reflecting Both Teenagers, And In Turn Specifically Teenage Girls, Allows Us To Truley Witness A Social Change In The Attitude And Behaviour Of Society...

http://www.youtube.com/watch?v=4Nnw_dilLyY
- The Video Clip Represents How Sex Is Undermined Within Contemporary Society, And Instead Shows How It Is Offered In Exchange For Drugs..

http://www.youtube.com/watch?v=JKTp0JpuAAo
- This Specific Clip Within Kidulthood, Reflects Predominant Masculine Traits, And Aggression Within Females within Our 21ST Century Society; The Clip Shows How Females Are Also Now Resorting To Dangerous Physical Abuse Aswell As Mental Torment In order For Revenge.

Laura Mulveys theory towards both women and men is definetly relevant to my own independent stud on Kidulthood, as I am focusing on the representation of female within the 21st century. Luara Mulvey refers to the male gaze, in which women are viewed as mere sex objects, this is definelty applied to my text 'Kidulthood', as female girls are witnessed preforming sexual acts upon men. The girl is placed in a devalued position, and in one scene is on her knees before the man, whilst she preforms oral sex. The positioning of this female onscreen highlights the authoritive/powerful representation of men, and enforces patriachial views/society. Furthermore refernce towards women as both whores/madonnas is aso necessarry within my own text. As well as this Mulvey focuses on Sigmeund Freuds own theories towards women. This can also be applied to the 'kidulthood' text as it offers explanation towards the delinquency witnessed within 'Kidulthood', as some of the main charcters we follow onscreen(Trevor), are from single parent families. This inturn emphasises contemporary scoiety, as an era of misguidance, lonilness, and conflict. Sigmeun Freuds theory represents that the children have lacked from an early stage his theoratical development in which it is necesary for the child to larn their own position within the family.

Laura Mulvey: Visual Pleasure And Narrative Cinema (1975)

Laura Mulvey focuses on the portrayal/use of women within cinema and on screen; Mulvey argues that women are viewed as mere sex objects, purley for the male gaze on screen, and segregates women into the category of both the 'madonnas', and 'whores'. This visual conception of the role of women onscreen, Mulveys argues, consequently allows males to indulge in their voyerustic pleasures. Mulvey's work also refers to the physchoanalysis of Sigmeund Freuds work, due to her strong Feminist viewpoint. Reference is paid to the patriachial society in which we live, and debates wether any representation of women will ever be free from male enforced values/ideologies. Mulvey also argues that lead roles are predominantly male, and as the viewer we are encouraged to identify with the male protagonist; Therefore as women are useually presented in films as objects of the male gaze/sex objects we as the audience are alos positioned in a masculine role,and therefore influenced to think from a male perspective.