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This content analysis examined the 60 most popular teen movies from the 1980s, 1990s, and 2000s to determine how older people (those over 55) are portrayed. This study found that some portrayals of older people in teen movies were favorable. For example, the most positive finding of the current study was the physical portrayal of older characters. The overwhelming majority of older characters were portrayed as active and healthy and rarely portrayed as sick or ugly. The negative physical stereotypes associated with children's media, such as “toothless/missing teeth" and older characters' reliance on physical aids were mostly absent from teen movies. The marginalization of older characters, their lack of significance to the plot, and the use of negative personality traits and stereotypes, however, were notable in the teen movie sample. Older characters were extremely under represented in teen movies; only 7% of characters in teen movies were old despite those over 55 comprising at least 21% of the total U.S. population. Similarly, older characters were marginalized in terms of plot and were likely to be featured only as background characters. Older characters were often portrayed with negative personality traits and in an overall negative manner. Fewer than 50% of older characters were portrayed positively. About a third of older characters were portrayed negatively overall, while 35% of older characters were portrayed as angry. Older characters were often portrayed in a stereotypical manner and a full 20% of older characters only exhibited negative stereotypes. The stereotypes that adolescents today hold toward older people were reflected in older character portrayals in these popular teen films. Given the negative representations of older people that adolescents are exposed to in their teen years, it is no wonder that they express negative attitudes toward older people. After years of exposure to media that negatively depict older adults, adolescents may have been cultivated to stereotype older people. This has the potential to influence the quality of their interactions with older people, and also influence the way they come to view the prospect of getting old.

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Issu de Dada et du surréalisme, le groupe Panique, constitué de Fernando Arrabal, Roland Topor et Alejandro Jodorowsky, est créé en 1962. L’évolution de la pratique artistique de Jodorowsky de 1962 à 2016 est riche d’enseignements sur la performance théâtrale et l’interaction entre le théâtre et le cinéma. Nous suivons le constat que fait Joseph Danan dans Entre théâtre et performance: la question du texte qu’à un « état d’esprit dramaturgique » évoqué par Bernard Dort a succédé un « état d’esprit performatif » sur la scène contemporaine. L’œuvre de Jodorowsky est traversée par cet « état d’esprit performatif », de ses « éphémères paniques » qu’il réalise entre 1962 et 1967, à son « théâtre panique » puis son « théâtre essentiel », à son cinéma. L’analyse des éphémères, proches temporellement et essentiellement des premières performances historiques, permet de faire ressortir les caractéristiques de la performance qui peuvent passer dans d’autres formes artistiques. Avant la présentation d’une performance se noue implicitement un pacte entre les performeurs et les spectateurs. Ce « pacte performatif », correspondant aux attentes et aux croyances du spectateur de performance, repose sur trois points : l’implication de l’artiste lui-même dans son œuvre, l’unicité de la performance et la réalisation d’actes réels. Notre étude permet de voir comment ces trois points, tout en s’adaptant à l’art dans lequel ils sont apportés, constituent le noyau de l’ « état d’esprit performatif » qui parcourt l’ensemble de l’œuvre de Jodorowsky. / Deriving from Dada and surrealism, the Panic group, made up of Fernando Arrabal, Roland Topor and Alejandro Jodorowsky, was created in 1962. The evolution of Jodorowsky's artistic practice from 1962 to 2016 is rich in teachings on theatrical performance and the interaction between theatre and cinema. We agree with the observation made by Joseph Danan in Entre théâtre et performance: la question du texte that from a "dramaturgical state of mind" evoked by Bernard Dort has succeeded a "performative state of mind" on the contemporary scene. Jodorowsky's work is crossed by this "performative state of mind", from his "panic ephemera" that he realised between 1962 and 1967, to his "panic theatre" and his "essential theatre" and his cinema. The analysis of the ephemera, temporally and essentially close of the first historical performances, makes it possible to highlight the characteristics of the performance which can pass in other artistic forms. Before the presentation of a performance is implicitly a pact between the performers and the spectators. This "performance pact", corresponding to the expectations and beliefs of the performance spectator, is based on three points: the involvement of the artist himself in his work, the uniqueness of the performance and the realization of real acts. With our study we are able to see how these three points, while adapting to the art in which they are brought, constitute the core of the "performative state of mind" that runs through the whole of Jodorowsky's work.

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[pt] A presente tese tem como objetivo traçar uma paisagem constelar de vivências queers (minorias sexuais, de gênero, étnico-raciais, etc) que afirmam suas vidas através da reconfiguração das ideias de lar e casa. Para isso, foram utilizados diversos objetos-acontecimentos (filmes, livros, materiais arquivísticos) que nos ajudassem a produzir fendas ou fissuras afirmativas no pensamento sobre o poder através das suas potências de vida, fazendo eco ao que propõe Beatriz Preciado em seu ensaio Multidões Queer: notas para uma política dos anormais (2011). Alguns deles são: o livro Stella Manhattan (1995), de Silviano Santiago; os home movies do cineasta Derek Jarman; materiais pessoais de Alice B. Toklas e Gertrude Stein arquivados no Harry Ramson Center, da Universidade do Texas em Austin; a peça de teatro Domínio do Escuro (2015) de Juliana Pamplona; o filme The Watermelon Woman (1996), de Cheryl Dunye e o filme Shortbus (2006), de John Cameron Mitchell. Trata-se de uma organização de tese que faz parte de uma corporeidade que não é histórica no sentido normativo da palavra, mas tecida como um gesto que se aproxima daquele presente no Atlas de Aby Warburg, no esforço de fazer entender o link, um nexo, uma conexão secreta entre diferentes imagens que se afirmam enquanto resistências às normas de gênero e sexualidade, e aos modos de estar junto normatizados na modernidade e na História. / [en] The goal for this thesis is to draw a constellation of queer livings (sexual, gender, ethnic, racial and other minorities) that reassures their lives through the reconfiguration of the ideas of home and house. In order to accomplish that, several happening-objects were used (films, books, archive material) to help us produce affirmative slits or clefts when thinking about power through its life potency, echoing what Beatriz Preciado suggests in her essay Multitudes queer. Notes for a politics of abnormality (2011). Some of them are: the book Stella Manhattan (1995), by Silviano Santiago; movie maker Derek Jarman s home movies; personal material from Alice B. Toklas and Gertrude Stein archived at Harry Ramson Center, at the University of Texas in Austin; the play Domínio do Escuro (2015) by Juliana Pamplona; the movie The Watermelon Woman (1996), by Cheryl Dunye and the movie Shortbus (2006), by John Cameron Mitchell. It is a thesis organized in a non-historical corporeity in the normative sense of the word, but woven as a gesture close to the one present in Aby Warburg s Atlas, in an effort to understand the hidden connection between different images that arise as resistence to the norms of gender and sexuality, and to the normatized forms of being together in modernity and in History.

American adolescents watch an average of 3.5 hours of television and movies everyday; many attend more than one movie a month. Adolescents as a group watch more movies than any other group of the population, yet little research has been done on what is shown in teen movies. Adolescence is a time when values, beliefs, and opinions are formed and the media has been found to be a place that adolescents find information that can influence the construction of these identities. While there has been a vast amount of research looking at the family as portrayed on television shows, there has been little research done on film families. More specifically, there has not been an examination of the family as seen in movies targeted towards the teen audience. Through the use of a content analysis, this thesis reviews three decades of families as depicted in teen films, focusing specifically on five areas: family structure, ethnicity, occupation and children, socio-economic status, and parental depictions. This thesis includes a sample of the 90 top-grossing teen movies made during the 1980s, 1990s, and the 2000s (2000-2007) and includes a total of 139 different families. Results indicate that the typical family as depicted in a teen movie, is a middle-class, Caucasian, dual or single-parent family with one or two children; dad is a working professional and mom stays at home. The parents are adequate in their parenting skills and are authoritative in their parenting style. The results of this thesis are compared to findings of past studies regarding television families and against U.S. census data. The implications of the results of this thesis are discussed through the lens of cultivation theory.

Syftet med detta arbete är att diskutera förhållandet mellan historisk spelfilm och historieundervisningen i den svenska skolan idag.Spelfilm har blivit en del av elevers vardag och historiker diskuterar i allt högre grad hur historia används i spelfilmer och hur detta påverkar vårt historiemedvetande. Möjligtvis är det så att detta bruk av historia leder till ett nytt historiemedvetande.Film kan ses som ett pedagogiskt redskap, en upplevelse som leder fram till intresse och kunskap. Vad detta arbete strävar mot är att undersöka om man kan lära sig något om det förflutna genom historisk spelfilm samt om historisk spelfilm kan utveckla elevers historiemedvetande.Arbetet tar sin utgångspunkt i ett projekt om historisk spelfilm genomfört med högstadie- och gymnasieelever på två skånska skolor. Med avstamp i visandet av två filmer om medeltiden; Robin Hood- Prince of Thieves och En riddares historia, diskuteras faktakunskap, förståelse och historiemedvetande. / The purpose of this work is to discuss historic Hollywood movies in relation to the teaching of history in Swedish Schools today.Hollywood movies are in today’s society a part of the student’s everyday life and historians have increasingly come to discuss how history is used in these movies and how this affects our historic consciousness.Movies can be seen as pedagogical tools, an experience that will lead to an interest and a search for knowledge. What this paper strives to examine is if you can learn anything about the past by watching historic Hollywood movies and in extent if it can serve to develop student’s historic consciousness.Taking its beginning in a project about two movies dealing with the Middle Ages, Robin Hood- Prince of Thieves and A Knight’s tale, this paper discusses basic knowledge, comprehension and historic consciousness.

The purpose of this paper is to show that you can use a movie for young adults, while teaching religion and questions about life. Studies show that students want to talk more about life issues and watching movies is a good way to meet this request. This is what this study will examine and it will be related to the course goals in studying religion in high school.  A hermeneutic analysis will be used for this study and helps looking for questions about life in the Swedish movie “Jag saknar dig” (eng. I miss you). The questions for the study is: How prominent is life questions in the movie I miss you? How prominent are cognitive movie theory? (It will be explained what this means forward). The last question is about how this is related to the course plan in religious education. The theory about how movies influence people says that we decide who we want to be or understand what we dream about, while we are watching movies. Cognitive movie theory says that we are experiencing different kinds of emotions as spectators. There are three kinds of emotions that show; direct-emotions, artifact-emotions and meta-emotions. Mediazation means that we are affected of media and re-chantment says that from movies we are getting material for creating our own life questions. Ola Sigurdsson(2005) previous research means that it is important to categorize religious movies and it will help this study to understand which movies who will be suitable for studying questions about life in religious education. The hermeneutic method can be experienced as subjective in order to make their own interpretations based on the material, but in this study, I have the support of theories and because of that it makes it reliable. The conclusion of this study shows that this movie for young adults can be used as a school supplies and that almost any scene in the movie affects your emotions and shows questions about life.