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John Hughes' Family Films and Seriality
Article Title ‘Give people what they expect’: John Hughes’ Family Films and Seriality in 1990s Hollywood Author Details: Dr Holly Chard [email protected] Biography: Holly Chard is Lecturer in Contemporary Screen Media at the University of Brighton. Her research focuses on the U.S. media industries in the 1980s and 1990s. Her recent and forthcoming publications include: a chapter on Macaulay Culkin’s career as a child star, a monograph focusing on the work of John Hughes and a co- authored journal article on Hulk Hogan’s family films. Acknowledgements: The author would like to thank Frank Krutnik and Kathleen Loock for their invaluable feedback on this article and Daniel Chard for assistance with proofreading. 1 ‘Give people what they expect’: John Hughes’ Family Films and Seriality in 1990s Hollywood Keywords: seriality, Hollywood, comedy, family film Abstract: This article explores serial production strategies and textual seriality in Hollywood cinema during the late 1980s and early 1990s. Focusing on John Hughes’ ‘high concept’ family comedies, it examines how Hughes exploited the commercial opportunities offered by serial approaches to both production and film narrative. First, I consider why Hughes’ production set-up enabled him to standardize his movies and respond quickly to audience demand. My analysis then explores how the Home Alone films (1990-1997), Dennis the Menace (1993) and Baby’s Day Out (1994) balanced demands for textual repetition and novelty. Article: Described by the New York Times as ‘the most prolific independent filmmaker in Hollywood history’, John Hughes created and oversaw a vast number of movies in the 1980s and 1990s.1 In a period of roughly fourteen years, from the release of National Lampoon’s Vacation (Ramis, 1983) to the release of Home Alone 3 (Gosnell, 1997), Hughes received screenwriting credits on twenty-seven screenplays, of which he produced eighteen, directed eight and executive produced two. -
The Breakfast Club Movie Script in PDF Format
Scripts.com The Breakfast Club By John Hughes Page 1/75 BLANK SCREEN: Against Black, TITLE CARD: "...and these children that you spit on, as they try to change their worlds are immune to your consultations. They're quite aware of what they're going through... - David Bowie" The Blank Screen and Title Card SHATTER to reveal... 1. EXT. SHERMER HIGH SCHOOL - DAY During Brian's monologue, we see various views of things inside the school including Bender's locker. BRIAN (VO) Saturday...March 24, 1984. Shermer High School, Shermer, Illinois. 60062. Dear Mr. Vernon...we accept the fact that we had to sacrifice a whole Saturday in detention for whatever it was that we did wrong, what we did was wrong. But we think you're crazy to make us write this essay telling you who we think we are, what do you care? You see us as you want to see us...in the simplest terms and the most convenient definitions. You see us as a brain, an athelete, a basket case, a princess and a criminal. Correct? That's the way we saw each other at seven o'clock this morning. We were brainwashed... CUT TO: 2. INT. CLAIRE'S CAR - DAY We see CLAIRE and her FATHER sitting in their car in the parking lot. Claire is the prom queen and is clearly a snob. CLAIRE I can't believe you can't get me out of this...I mean it's so absurd I have to be here on a Saturday! It's not like I'm a defective or anything.. -
CFP: Gender in the Golden 80S (Film & History Conference 6/1/14; 10/29/14)
H-Film CFP: Gender in the Golden 80s (Film & History conference 6/1/14; 10/29/14) Discussion published by Laura M. D'Amore on Monday, April 14, 2014 The 1980s is its own “golden age” of film when considering the idea/ls of gender contained within its borders. The era indulged representations of high-testosterone masculinity (such as Arnold Schwarzenegger, Sylvester Stallone, and Bruce Willis) and vulnerable femininity (such as Molly Ringwald and Ally Sheedy). And, while films of the decade were also capable of imagining men who were strong and sensitive (like Eric Stoltz in Some Kind of Wonderful, Rob Lowe in About Last Night, and Judd Nelson in The Breakfast Club), there were far fewer roles for women that broke from stereotypically feminized characterizations (like Linda Hamilton inTerminator , Lea Thompson in Back to the Future, and Demi Moore in St. Elmo’s Fire). What can an examination of gender roles in the films of the 1980s tell us about a decade that was fraught with a crisis of identity, simultaneously proud and insecure The( Outsiders, Dirty Dancing, Less Than Zero), strong and vulnerable (War Games, Red Dawn) real and imagined (Robocop, Predator)? How might we interrogate gender in American films of the 1980s, in order to better understand the ironies and anxieties contained within them? Possible paper topics include, but are not limited to the following topics as embodied in 1980s films: Representations of masculinity and femininity in film and television Character/izations that disrupt gender norms The relationship between gender and culture, i.e. politics, economy, the Cold War, post- industrialization Gendered tensions between characters, actors, filmmakers, etc. -
Film Resources Uplifting, Positive Reinforcing Films Remember the Titans
Film Resources Uplifting, positive reinforcing films Remember the Titans (2000) The true story of a newly appointed African-American coach and his high school team on their first season as a racially integrated unit. – IMDB Directed By: Boaz Yakin Starring: Denzel Washington, Will Patton IMDB Link: http://www.IMDb.com/title/tt0210945/?ref_=fn_al_tt_1 http://www.youtube.com/watch?v=nPhu9XsRl4M Soul Surfer (2011) Teenage surfer Bethany Hamilton overcomes the odds and her own fears of returning to the water after losing her left arm in a shark attack. – IMDB Directed By: Sean McNamara Starring: AnnaSophia Robb, Dennis Quaid IMDB Link: http://www.IMDb.com/title/tt1596346/ http://www.youtube.com/watch?v=MWeOjBCi3c4 The Help (2011) An aspiring author during the civil rights movement of the 1960s decides to write a book detailing the African-American maids' point of view on the white families for which they work, and the hardships they go through on a daily basis. – IMDB Directed By: Tate Taylor Starring: Emma Stone, Viola Davis IMDB Link: http://www.IMDb.com/title/tt1454029/?ref_=nv_sr_1 http://www.youtube.com/watch?v=WbuKgzgeUIU Dove Evolution (2006) (YouTube) A video about the impacts on how media today can affect the way people think of body image and looks. Director: Unknown Starring: Unknown (TV Commercial) http://www.youtube.com/watch?v=iYhCn0jf46U Cyberbully (2011) Teen girl Taylor Hillridge gets a laptop for her birthday and signs up on a social networking site. – IMDB Directed By: Charles Binamé Starring: Emily Osment, Kay Panabaker IMDB Link: http://www.IMDb.com/title/tt1930315/?ref_=nv_sr_1 http://www.youtube.com/watch?v=fk_YSO0py7s Forrest Gump (1994) Forrest Gump, while not intelligent, has accidentally been present at many historic moments, but his true love, Jenny Curran, eludes him. -
275. – Part One
275. – PART ONE 275. Clifford (1994) Okay, here’s the deal: I don’t know you, you don’t know me, but if you are anywhere near a television right now I need you to stop whatever it is that you’re doing and go watch “Clifford” on HBO Max. This is another film that has a 10% score on Rotten Tomatoes which just leads me to believe that all of the critics who were popular in the nineties didn’t have a single shred of humor in any of their non-existent funny bones. I loved this movie when I was seven, and I love it even more when I’m thirty-three. It’s genius. Martin Short (who at the time was forty-four) plays a ten-year-old hyperactive nightmare child from hell. I mean it, this kid might actually be the devil. He is straight up evil, conniving, manipulative and all-told probably causes no less than ten million dollars-worth of property damage. And, again, the plot is so simple – he just wants to go to Dinosaur World. There are so many comedy films with such complicated plots and motivations for their characters, but the simplistic genius of “Clifford” is just this – all this kid wants on the entire planet is to go to Dinosaur World. That’s it. The movie starts with him and his parents on an plane to Hawaii for a business trip, and Clifford knows that Dinosaur Land is in Los Angeles, therefore he causes so much of a ruckus that the plane has to make an emergency landing. -
6769 Shary & Smith.Indd
ReFocus: The Films of John Hughes 66769_Shary769_Shary & SSmith.inddmith.indd i 110/03/210/03/21 111:501:50 AAMM ReFocus: The American Directors Series Series Editors: Robert Singer, Frances Smith, and Gary D. Rhodes Editorial Board: Kelly Basilio, Donna Campbell, Claire Perkins, Christopher Sharrett, and Yannis Tzioumakis ReFocus is a series of contemporary methodological and theoretical approaches to the interdisciplinary analyses and interpretations of neglected American directors, from the once-famous to the ignored, in direct relationship to American culture—its myths, values, and historical precepts. The series ignores no director who created a historical space—either in or out of the studio system—beginning from the origins of American cinema and up to the present. These directors produced film titles that appear in university film history and genre courses across international boundaries, and their work is often seen on television or available to download or purchase, but each suffers from a form of “canon envy”; directors such as these, among other important figures in the general history of American cinema, are underrepresent ed in the critical dialogue, yet each has created American narratives, works of film art, that warrant attention. ReFocus brings these American film directors to a new audience of scholars and general readers of both American and Film Studies. Titles in the series include: ReFocus: The Films of Preston Sturges Edited by Jeff Jaeckle and Sarah Kozloff ReFocus: The Films of Delmer Daves Edited by Matthew Carter and Andrew Nelson ReFocus: The Films of Amy Heckerling Edited by Frances Smith and Timothy Shary ReFocus: The Films of Budd Boetticher Edited by Gary D. -
CFP: Gender in the Golden 80S (Film & History Conference 6
H-Amstdy CFP: Gender in the Golden 80s (Film & History conference 6/1/14; 10/29/14) Discussion published by Laura M. D'Amore on Monday, April 14, 2014 The 1980s is its own “golden age” of film when considering the idea/ls of gender contained within its borders. The era indulged representations of high-testosterone masculinity (such as Arnold Schwarzenegger, Sylvester Stallone, and Bruce Willis) and vulnerable femininity (such as Molly Ringwald and Ally Sheedy). And, while films of the decade were also capable of imagining men who were strong and sensitive (like Eric Stoltz in Some Kind of Wonderful, Rob Lowe in About Last Night, and Judd Nelson in The Breakfast Club), there were far fewer roles for women that broke from stereotypically feminized characterizations (like Linda Hamilton inTerminator , Lea Thompson in Back to the Future, and Demi Moore in St. Elmo’s Fire). What can an examination of gender roles in the films of the 1980s tell us about a decade that was fraught with a crisis of identity, simultaneously proud and insecure The( Outsiders, Dirty Dancing, Less Than Zero), strong and vulnerable (War Games, Red Dawn) real and imagined (Robocop, Predator)? How might we interrogate gender in American films of the 1980s, in order to better understand the ironies and anxieties contained within them? Possible paper topics include, but are not limited to the following topics as embodied in 1980s films: Representations of masculinity and femininity in film and television Character/izations that disrupt gender norms The relationship between gender and culture, i.e. politics, economy, the Cold War, post- industrialization Gendered tensions between characters, actors, filmmakers, etc. -
The Experiences and Perceptions of Students
THE EXPERIENCES AND PERCEPTIONS OF STUDENTS EXPOSED TO POPULAR FILM AS A PEDAGOGIC TOOL IN COUNSELOR EDUCATION: AN EXPLORATORY STUDY A dissertation presented to the faculty of the College of Education of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Charles Vance Lindsey June 2005 © 2005 Charles Vance Lindsey All Rights Reserved This dissertation entitled THE EXPERIENCES AND PERCEPTIONS OF STUDENTS EXPOSED TO POPULAR FILM AS A PEDAGOGIC TOOL IN COUNSELOR EDUCATION: AN EXPLORATORY STUDY BY CHARLES V. LINDSEY has been approved for the Department of Counseling and Higher Education and the College of Education by Thomas E. Davis Professor and Chair of Counseling and Higher Education James L. Heap Dean, College of Education LINDSEY, CHARLES V. Ph.D. June 2005. Counselor Education The Experiences and Perceptions of Students Exposed to Popular Film as a Pedagogic Tool in Counselor Education: An Exploratory Study (322pp.) Director of Dissertation: Thomas E. Davis This constructivist grounded theory research study explored Master’s level counselor education students’ perceptions and experiences of being exposed to popular film clips for pedagogic purposes in the classroom. Over an eight month period, students in seven different counselor education courses were exposed to pedagogic film clip experiences in their classrooms. From this group of students drawn from two Midwestern universities, three rounds of face-to-face individual interviews and a focus group were conducted and forty participants described their classroom film experiences. Transcriptions of the interviews and focus group were used to gather data and to develop a constructivist grounded theory. Participants’ descriptions of their experiences and perceptions indicated that students engage in a complex experiential meaning-making process as a result of exposure to and discussion of their film experiences. -
Hooked on Hughes
Radboud University hooked on Hughes A feminist consideration of Sixteen Candles, The Breakfast Club and Pretty In Pink. Kelly Thijssen 3037320 American Studies – Bachelor Thesis Dr. Mathilde Roza 7 November 2016 Thijssen, 3037320/2 Abstract This thesis explores how John Hughes’s teen films Sixteen Candles, The Breakfast Club, and Pretty in Pink reinforce traditional ideas about gender, class, sexuality, and race. Each film was subjected to a combination of narrative and semiotic analysis, revealing that patriarchal ideals are embedded in Hughes’ film language. The findings of each analysis were then interpreted in a segment of discussion using feminist theory and cultural criticism of bell hooks as a primary source. Keywords: John Hughes, teen film, bell hooks, gender, class, sexuality, race, narrative analysis, semiotic analysis, patriarchal ideals, feminist theory, cultural criticism Thijssen, 3037320/3 Contents Abstract 2 Table of Contents 3 1. Introduction 4 1.1 Purpose 7 1.2 Methods 7 2. Sixteen Candles 10 2.1 Plot Synopsis 11 2.2 Analysis 13 2.3 Discussion 17 3. The Breakfast Club 21 3.1 Plot Synopsis 22 3.2 Analysis 24 3.3 Discussion 30 4. Pretty In Pink 33 4.1 Plot Synopsis 35 4.2 Analysis 40 4.3 Discussion 44 5. Conclusion 48 Thijssen, 3037320/4 1. Introduction John Hughes (1950-2009) was an American filmmaker and director who wrote and directed numerous highly successful films. He is best known for the teen films he produced in the 1980s, such as Sixteen Candles (1984), The Breakfast Club (1985), Pretty in Pink (1986), and Ferris Bueller’s Day Off (1986). -
John Hughes May Be Onto Something: Anti-Authoritarianism in Education, Film and Policy James Michael Iddins Valparaiso University
Commentary John Hughes May Be onto Something: Anti-Authoritarianism in Education, Film and Policy James Michael Iddins Valparaiso University In this article, I use two popular anti-authoritarian films to explore often-overlooked options for the education reform debate and general issues related to educational public policy. Bringing in sources from many disciplines, including anthropology, sociology, and economics, I argue for a second look at the issues revealed in the films and action on our part toward creating a more sustainable educational and economic reality. I contend that if we take into account our historical context, we come to a much different conclusion regarding these issues than we might have otherwise. We are faced with the paradoxical fact that education has become one of the chief obstacles to intelligence and freedom of thought. – Bertrand Russell The centerpiece on the main set in John Hughes’ The Breakfast Club (1985) is a female statue with no head and no arms … Lady Liberty with all her faculties and means for human action removed. This statue stands in the middle of the library and seems to be a symbol for the current public education system and its ineffectiveness. This sentiment is also clearly present in a later Hughes film, Ferris Bueller’s Day Off (1986). Here, Ferris works the system to buy an exciting day in Chicago for him and his friends, as opposed to sitting through another bland round of classes. Though made primarily as entertainment, I believe what Hughes employs are “cultural myths, or modern-day folktales” (Bulman, 2005: 162). He utilizes these to argue that the public “education” system, as well as the popular notion of authority, is corrupt at its core and that rebellion or anti-authoritarianism is a necessary first step to securing opportunities for intelligence and free thought. -
Union Says HCSB Offer ‘Not Enough’ Members Vote on Nov
Student’s Art End Of Era For Goes To State Arcadia Arena A3 B9 Herald-THE Advocate HARDEE COUNTY’S HOMETOWN COVERAGE 117th Year No. 51 2 Sections www.TheHeraldAdvocate.com 70¢ Plus 5¢ Sales Tax Thursday, November 16, 2017 Union Says HCSB Offer ‘Not Enough’ Members Vote On Nov. 30 PHOTO BY TOM STAIK By TOM STAIK contract negotiations with the Emergency Management Director Jill Newman surveys the area with petroleum bubbling to the surface from Of The Herald-Advocate union. an underground fuel tank at the Murphy Gas Station in Wauchula on Tuesday. More than $1.5 million in The offer includes proposed raises and bonuses is $1,013,611 in recurring raises “not enough” for employees of and $577,159 in one-time the Hardee County School Dis- bonuses. Fuel Leak Closes Station trict, according to a memo re- With the clock ticking to rat- By TOM STAIK ing reports of gasoline pooling U.S. 17 at the entrance to Wal- The visible flow slowed sig- leased by the union ify the agreement in order for Of The Herald-Advocate in the parking lot from a sus- mart, was closed shortly after nificantly within the first hour, representing employees. the pay schedules to go into ef- Up through the ground pected underground tank leak. noon as a result of the leak. Newman said, but it was not “From the association’s per- fect before the end of the year, came a bubblin’ crude – at “It was bubbling pretty Emergency officials were immediately clear how much spective, it is not enough to at- the union has yet to take action least a highly refined version, good when we first got here,” working with station owners petroleum product escaped the tract and retain quality on the proposed agreement. -
Why John Hughes' 'The Breakfast Club' Is Still Relevant in 2015 | The
Why John Hughes’ ‘The Breakfast Club’ is still relevant in 2015 | The Wichita Eagle kansas.com/entertainment/movies-news-reviews/article10108265.html By Jason Dilts Eagle correspondent It’s been 30 years since “an athlete,” “a brain,” “a criminal,” “a princess” and “a basket case” were sentenced to the world’s most famous Saturday detention. In the simplest terms, “The Breakfast Club” continues to school us on “who we think” teenagers are. Since its opening on Feb. 15, 1985, John Hughes’ classic take on teenage life has been a critical and cultural favorite. To people of a certain age, the film is a generational touchstone. It was ranked at No. 1 on Entertainment Weekly’s list of 50 Best High School Movies. And each year, it seems younger generations discover it. Wichita artist Taylor Levi Miller, 20, is one of those fans. Though the film was 10 years old when he was born, Taylor said everyone can see themselves in at least one of the characters. “One of the main things I picked up from the movie was that in the end, no matter how different we are, we all can relate to each other on many things,” he said. “My favorite scene is when they’re all sitting in sort of a circle when they start really talking to each other and learning things about each other and seeing who they really are, instead of what they present themselves to be.” The film stars Emilio Estevez, Anthony Michael Hall, Judd Nelson, Molly Ringwald and Ally Sheedy – branded in the media as part of the Brat Pack – as high school students sentenced to a day of detention.