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Inhoudstafel Inhoudstafel 1 Inleiding .................................................................................................................................. 3 2 De teenpic: algemeen .............................................................................................................. 7 2.1 Definiëring ....................................................................................................................... 7 2.2 De geschiedenis van het tienergenre ............................................................................ 11 2.2.1 De voorlopers van de tienerfilm ............................................................................... 11 2.2.2 Het ontstaan van de tienerfilm: de jaren vijftig en zestig ......................................... 12 2.2.3 Generation X: de jaren zeventig en tachtig .............................................................. 15 2.2.4 Teenpic Renaissance: vanaf de jaren negentig ......................................................... 18 3 Bespreking van de literatuur voorhanden ........................................................................... 22 3.1 Thematiek ...................................................................................................................... 22 3.1.1 Autoriteit .................................................................................................................. 22 3.1.2 Peers ......................................................................................................................... 27 3.1.3 Volwassenheid ......................................................................................................... 29 3.1.4 Angst ........................................................................................................................ 32 3.1.5 Seksualiteit ............................................................................................................... 34 3.1.6 Seks/Intimiteit .......................................................................................................... 38 3.1.7 Humor ...................................................................................................................... 40 3.1.8 Vooroordelen en stereotypering ............................................................................... 43 3.1.9 Materialisme ............................................................................................................. 47 3.2 Allusionisme of reflexiviteit .......................................................................................... 51 3.2.1 Algemeen ................................................................................................................. 51 3.2.2 Adaptatie .................................................................................................................. 54 3.2.3 Reflexiviteit en zelf-reflexiviteit .............................................................................. 59 3.3 Besluit ............................................................................................................................. 65 4 Empirie .................................................................................................................................. 69 4.1 Thematiek ...................................................................................................................... 69 4.1.1 Autoriteit .................................................................................................................. 69 4.1.1.1 Het gezin ........................................................................................................... 69 4.1.1.2 Autoriteitsfiguren binnen het academische milieu ............................................ 79 4.1.1.3 Autoriteitsfiguren die een minder prominente rol spelen ................................. 84 4.1.2 Plaats ........................................................................................................................ 86 4.1.3 Peers ......................................................................................................................... 88 4.1.4 Vriendschap ............................................................................................................. 92 4.1.5 Volwassenheid ......................................................................................................... 95 4.1.6 Angst ...................................................................................................................... 100 4.1.7 Seksualiteit ............................................................................................................. 104 4.1.8 Seks/Intimiteit ........................................................................................................ 113 4.1.9 Humor .................................................................................................................... 118 4.1.10 Vooroordelen en stereotypering ........................................................................... 121 4.1.11 Materialisme ......................................................................................................... 131 4.2 Allusionisme ................................................................................................................. 138 4.2.1 Adaptatie ................................................................................................................ 138 4.2.2 Reflexiviteit en zelf-reflexiviteit ............................................................................ 147 5 Besluit .................................................................................................................................. 154 6 Bibliografie .......................................................................................................................... 161 6.1 Monografieën ............................................................................................................... 161 6.2 Tijdschriftartikels ....................................................................................................... 166 6.3 Internetbronnen .......................................................................................................... 170 7 Filmografie .......................................................................................................................... 171 7.1 Algemeen ...................................................................................................................... 171 7.2 Empirie ......................................................................................................................... 176 2 1 Inleiding Binnen dit eindwerk zal een kritische analyse gemaakt worden van de thematiek van het teenpic-genre. Er zal voornamelijk geconcentreerd worden op de nieuwe generatie teenpics, namelijk diegenen die verschenen zijn na 1995. Dat het teenpic-genre een enorme populariteit geniet, hoeft geen betoog. Zulke films worden goedkoop gemaakt en kennen veel succes onder het tienerpubliek. Hoewel er een markt is voor teenpics, lijkt het alsof er geen plaats is binnen de literatuur voor een kritische studie van het genre. Bovendien is het teenpic-genre geen nieuw gegeven binnen de wereld van de cinema. Het kende zijn grootste succes met de films van John Hughes tijdens de jaren tachtig, maar werd reeds tijdens de jaren vijftig een wezenlijk onderdeel van de verschillende populaire filmgenres. Het teenpic-genre komt in cyclusbewegingen en vanaf 1995 kon opgemerkt worden dat met het verschijnen van Clueless (A. Heckerling) deze films terug volop in de belangstelling stonden. Films binnen dit genre zoals The Craft (1996, A. Fleming),de Scream-trilogie (1996-2000, W. Craven), I Know What You Did Last Summer (1997, J. Gillespie), I Still Know What You Did Last Summer (1998, D. Cannon), The Faculty (1998, R. Rodriguez), American Pie (1999, P. Weitz), American Pie 2 (2001, J.B. Rogers) en verschillende andere films verdwenen niet tussen de videorekken, maar kenden veel succes op het grote scherm. Toch lijken deze films geen plaats te krijgen binnen de literatuur, terwijl dit enkel kan bijdragen tot een vollediger beeld van populaire cultuur in het algemeen en, meer specifiek, van jongerencultuur. Dit werk bestaat uit drie grote delen, namelijk een algemeen gedeelte met betrekking tot het teenpic-genre, een theoretisch en een empirisch deel. Binnen het eerste hoofdstuk zal enerzijds de definiëring van het teenpic-genre verder toegelicht worden, het onderscheid dat kan gemaakt worden tussen verschillende teenpics, de elementen van het genre en de kernconcepten die binnen zulke films naar voor worden gebracht. Anderzijds zal zeer overzichtelijk de geschiedenis van het genre, met verschillende voorbeelden, geschetst worden. Eerst zullen kort de voorlopers van de teenpic besproken worden, om zo tot de verschillende subgenres die tijdens de jaren vijftig en zestig ontstonden te komen. Verder zullen de hoogdagen van de zogenaamde slasher aan bod komen en zal uitgebreid ingegaan worden op de John Hughes-films van de jaren tachtig. Om het hoofdstuk 3 af te sluiten en een degelijke link te leggen met het theoretische gedeelte, zullen zeer kort de nieuwe teenpics aangehaald worden. Binnen het theoretische luik zal voornamelijk gericht worden op de thematiek die aan bod komt binnen de literatuur en de stellingen die de verschillende auteurs binnen deze thema’s innemen. Het zal opvallen dat het de film Clueless (1995, A. Heckerling) is die de meeste aandacht krijgt en het meest uitgebreid besproken wordt,
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