Brat Pack' CHICAGO - Emuioeste- Madonna Partied Tuesday Vez Isn't Thrilled About His Im- Night)

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Brat Pack' CHICAGO - Emuioeste- Madonna Partied Tuesday Vez Isn't Thrilled About His Im- Night)

2D . WEDNESDAY,JUNE 12, 1985' USA TODAY PEOPLE BEHIND THE SCENES WITH THE FAMOUS AND THE FASCINATING Emilio and pal~ are no 'brat pack' CHICAGO - EmUioEste- Madonna partied Tuesday vez isn't thrilled about his im- night). age as leader of the Hollywood Lowe,asked as always about "brat pack," as portrayed in lorigtime girlfriend Melissa New York magazine. Gilbert, again ducked ques- The story in the June 10 is- tions about marriage. He's ob- sue refers to Estevez's reputa- sessed these days with survival tion as a "superstud" with "doz- games, in which players. hunt . ens of girlfriends, many of each other with paint-filledpel- them groupies," who "latch on let guns. Melissa doesn't share for brief atJairs." this passion: "I've tried to drag Estevez, 23, was here this her into it, but she's paranoid week with his peers and about breaking her face. I sup- friends Rob Lowe, Judd Nel- pose I don't blame her." son, Demi Moore, Ally Sheedy Nelson and Sheedy - co- and Mare Winningham, all ris- stars in The Breakfast Club, St. ing stars of the upcoming St. El- Elmo's and the currently film- mo's Fire, out June 28. ing Blue City - say they SETTING THE SCREEN ON 'FIRE': The hot actorS from 'St. Elmo's Fire,' due June 28, include He said the publicity "makes shouldn't be typed as the Judy Ally Sheedy, left, Judd Nelson, Emilio Estevez, Demi Moore, Rob Lowe and Mare Winningham. me very gun-shy. '" First of Garland and Mickey Rooney all, there is no 'brat pack.' " But of the '80s. he thinks he'll get over it, Responds Nelson,who's said thanks to hisupbringingby dad to be talking to Chicago the- Martin Sheen. aters about future stage roles: "My dad's kept my feet on. "No way. I'm taller than (Roo- the ground. More than any- ney) is. Irs not really up to us, thing, he's taught me to keep but if it were, we would contin- my sense of humor." ue making movies together. He wentout on the townwith We feel very comfortable Lowe and Nelson, chowing working with each other." down on some Chicago-style Sheedy laughed offcompari- pizzaand keeping a low profile sons to Katharine Hepburn at a new wave club. Now and Spencer Tracy. "Are you they're all doing publicityin kidding? Come on. Those two New York,where today they'll were great They were legends. be given a lunch at the Metro- We're just Allyand Judd." . politan Qub. Later they'll hit the Palladium disco (where By Steve Dale.

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A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 MAINSTREAM MAVERICK? JOHN HUGHES AND NEW HOLLYWOOD CINEMA HOLLY CHARD SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF SUSSEX MAY 2014 2 I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another university for the award of any other degree. Signature:……………………………………… 3 UNIVERSITY OF SUSSEX HOLLY CHARD SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY MAINSTREAM MAVERICK? JOHN HUGHES AND NEW HOLLYWOOD CINEMA SUMMARY My thesis explores debates on the commercial and textual priorities of New Hollywood cinema through examination of the career of John Hughes. I argue that scrutiny of Hughes’ career and the products associated with him expose the inadequacy of established approaches to cinematic authorship and New Hollywood cinema. By mounting a historically grounded investigation of Hughes’ career, his status within the cinema industry, and his work as a commercially successful and agenda-setting filmmaker, I aim to reevaluate existing perspectives on post-1970s mainstream popular U.S.
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