Lost and Othered Children in Contemporary CinemaDebbie C. Olson, Andrew Scahill Children have been a part of the cinematic landscape since the silent film era, yet children are rarely a part of the theoretical landscape of film analysis. Lost and Othered Children in Contemporary Cinema, edited by Debbie C. Olson and Andrew Scahill, seeks to remedy that oversight. Throughout the over one-hundred year history of cinema, the image of the child has been inextricably bound to filmic storytelling and has been equally bound to notions of romantic innocence and purity. This collection reveals, however, that there is a body of work that provides a counter note of darkness to the traditional portraits of sweetness and light. Particularly since the mid-twentieth century, there are a growing number of cinematic works that depict childhood has as a site of knowingness, despair, sexuality, death, and madness. Lost and Othered Children in Contemporary Cinema challenges notions of the innocent child through an exploration of the dark side of childhood in contemporary cinema. The contributors to this multidisciplinary study offer a global perspective that explores the multiple conditions of marginalized childhood as cinematically imagined within political, geographical, sociological, and cultural contexts. |
Contents
GhostSeeing Children as Mediums and Mediators of Communication in Contemporary Horror Cinema | 1 |
How JelizaRose Meets Alice and the Dark Side of Childhood in Terry Gilliams Tideland | 19 |
Adolescent Outsiders in Contemporary British Cinema | 47 |
Reconstructing Lost Childhood in Tim Burtons Charlie and the Chocolate Factory | 67 |
Oedipal Horror and Racial Privilege in The Omen Series | 95 |
Race Class Gender and Sexuality in Gummo | 107 |
Michou dAuber and the Politics of Immigration in France | 123 |
Johnny Mad Dog Ezra and Sleepwalking Land | 151 |
Ken Loachs Sweet Sixteen | 199 |
Epistemology Aesthetics and Ideology in The City of Lost Children | 235 |
The Child as Medium in The Others | 265 |
Children and the Hyperreal in Alfred Hitchcocks The Birds | 287 |
Chapter 14 EXPERIENCING HÜZÜNPOOCH THROUGH THE LOSS OF LIFE LIMB AND LOVE IN TURTLES CAN FLY | 307 |
327 | |
ABOUT THE CONTRIBUTORS | 335 |
Representation of Childhood during Maos Era in Little Red Flowers | 175 |
Other editions - View all
Lost and Othered Children in Contemporary Cinema Debbie C. Olson,Andrew Scahill Limited preview - 2012 |
Lost and Othered Children in Contemporary Cinema Debbie C. Olson,Andrew Scahill No preview available - 2013 |
Common terms and phrases
actors adult African argues becomes birds Bruhm Burton camera Cathy Chantelle characters Charlie chil Child Soldiers childhood innocence Chocolate Factory cinema contemporary culture d’Auber Damien Dickens doll heads dream fantasy father Fiction figure film’s filmmakers French gender Georges Ghobadi ghosts girl Gisèle Gothic Grace Gummo heteronormative Horror Film hüzün hyperreal Ibid identity imagination immigrant interview Iranian Jeliza Johnny Mad Dog Ken Loach Krank landmines Liam Literature Little Red Flowers living London Lury Mafia Michou Miette Monde mother movie Muidinga Muslim myth narrative Omen parents play political protagonist Qiang queer reality relationship representation role Routledge Sarkozy Sauvaire scene sequence sexual shot Sleepwalking Land social society space spectator Stir of Echoes story suggests Sweet Sixteen symbolic Tideland Tim Burton tion Turtles Can Fly University Press victim viewer village violence visual Wang Shuo white trash Willy Wonka York young youth Zhang Yuan