'Teenage Riot' - Youth, Media and Collective Identity Lecture: 2/02/2010

Who is your favourite young person in the media (fictional or real) and why?

Serena van der Woodsen, played by Blake Lively, from Gossip Girl; she wants to be successful in her own right and find herself and not have to rely on her parents influence to gain her high-end positions; this sense of independence is something that I am able to relate with, and I think it is what makes Serena relatable to audience members moreso than her rival Blair Waldorf. I am able to aspirational relate to Serena, however only in certain ways - mainly successwise, not careerwise. She wanted to be an actress, which was something that I could completely aspirationally relate to, however she gave up on that dream; this makes me want to work harder at it, so in a sense the producers have made me not want to be like her, because of what she failed to do makes me want to push myself harder; I am almost aspiring to be what she would've been had she not gave up.

Collective Identity:

Collective Identity is simply, groups of similar people; people that you are able to relate with through similarities.

Jacques Lacon is a psychoanalyst whose theory many media and film critics apply when attempting to create a character that they want audiences to relate to. Jacque studied child development and suggested a "mirror stage" in which a child begins to develop an identity; it is a point in their life when they can essentially look into a mirror and recognise themselves. It can be argued that audiences are able to form and reform their identity and change the way in which they see [or recognise] themselves; this is essentially how film and media critics relate Lacon's work to audiences.

The two main points that the media attempt to create relatable characters; characters that are "just like me" are Identification and Aspiration. As an audience member you can either identify literally with the character, physically or emotionally, or aspirationally relate to them; they do what you want to do. When there are accurate representations it is easier to see yourself in the character and this can reinforce your identity. However, when there are inaccurate and distorted portrayals, audiences can change themselves and their identity to fit in and belong.

Constructing the teenager:

19th century:

The young person started to emerge in New York. The "Bowery Boys" or "Soaplocks" as they were known; they had their own slang, that adults couldn't understand, dress code, musical taste etc. They had disposible income and it was the first time the entertainment industry and fashion houses targeted them as a consumer group.

1900-1940's:

There was a 400% rise in high school enrolment in the USA between 1900-1910. The peer culture truly began and it was a time of comparasion; teenagers were comparing themselves to their peers. The magazine industry started targeting the insecurities of adolescent girls. During World War II there was a demand for labour and therefore the teenagers had disposible income. Between 1945-1960, teenage consumers were known as the "jackpot market" and the "prosperous and liberated future", however it was also when negative stereotypes about teenagers were beginning; they were known as the "culture of moral decline." It was the first sign of the adult cultures dichotomous image.

1950's: Rock & Roll Culture

It was around this time that the teenage culture really began to begin, because they weren't trying to be adults; this created a generation gap which in turn created tension between adults and teenagers.

Adult Hegemony?

Hegemony - dominant social group keeps an oppressed group in their subservient position by making them feel their position is 'normal' or desirable.
A marxist view of teeangers is that the adults are encouraging the teeangers to be rebellious by creating the 'rebel teen' label in which teenagers can aspire to, however this in turn keeps the adults fearful of teenagers; this expands the generational gap.

James Dean: An Accurate Portrayal?
He was thought to be the first celebrity to capture the dissonance of youth. "Rebel without a Cause" confromed to adult fears of teenagers, supporting the marxist theory of adult hegemony. James Dean's character isn't a bad person; he's confused, sensitive, frustrated and handsome, this meant that both adults and teenagers could empathise and desire him. James Dean died in a motorcar accident at the age of 24; "live fast, die young" - adults began fetishising teenagers.

1960's-1970's:

Around this era the teenager subculture became a counter culture. The next generation of teenagers were cynical about the commercial exploitation of youth; this started social upheaval. Young people began to support Civil Rights, Feminism, Anti-Vietnam. They were resisting marketing and consumerism.

Punk & HipHop:

Punk: reaction against optimism of the 'Hippies', they were even more cynical than previous teenagers. They weren't just rebellious and anti-consumerist; they were anti-establishment, it was political.
HipHop: reality of poverty and racist oppression.

Adult Fetishism of Youth:

There is a recurring pattern of bright future vs society going to hell. Two different articles on teenage girls and teenage boys; "am I bovvered?" "hoodies or altar boys?" There are thoughts that the images of teenage boys and girls are sexualised and exploit insecurities of individuals creating paranoia about appearance.
4,374 out of 8,629 crimes reported were youth crimes. There are only positive representations of male teenagers if they're dead or victims of violent crimes that have been started by other teenagers.

Internalised Stereotypes:

'Kidulthood' - Links to media.
'Harry Brown' - revenge fantasy for adults.
These films could be considered as anti-youth films.

9-14year olds spend $300 billion per year in the USA.
There is a sense of nostalgia from the adult audience; they never appreciated their youth when they were that age. There is also a feeling of empathy, because adults don't want to have to do as they're told; they want to be rebellious. Finally there is a feeling of envy; teenagers don't have a careers or marriages to worry about, there is no financial burdens, and teenagers have a higher sexual drive.

Sometimes teenagers are represented in a way in such a way that the majority of the teenagers can't relate to them, for instance: Juno - do teenagers really talk like that? Skins - do teenagers really have those lifestyles?