Bogan's Blog

-Ashcroft, Catherine. 2003. “Adolescent ambiguities in American Pie: Popular culture as a resource for sex education.” Youth and Society , 35, no.1: 37-70. -Bentley, Mary K. 1999. “The Body of Evidence: Dangerous Intersections between Development and Culture in the Lives of Adolescent Girls.” In Mazzarella, 209-221. - Brooks, James. “Teenagers Evaluating Modern Media.” The English Journal , vol. 87, no. 1, 1998, pp. 21–24. JSTOR , JSTOR, www.jstor.org/stable/822014. - Clueless . 1995. Directed by Amy Heckerling, Paramount Pictures. -Doherty, Tom. 1995. “Clueless Kids.” Cineaste . 21, 4. JSTOR. -Driscoll, Catherine. 2002. Girls: Feminine Adolescence in Popular Culture and Critical Theory . New York: Columbia University Press. -Eder, Donna. 1985. “The Cycle of Popularity: Interpersonal Relations Among Female Adolescents.” Sociology of Education , 58, no. 3: 154-165, JSTOR -Mean Girls . 2004. Directed by Mark Waters. Paramount Pictures. -Sw

Hello all and Happy Halloween from me and Cady Heron! Thought a spooky gif would be the best way to start off a post here on Halloween.  [ Mean Girls , 2004] Our newest assignment is to start working on a 10 page research paper that will be due at the end of the semester. Each individual had to choose an area of film and the respective films that would assist in their research. [ 16 Candles , 1984] As can be inferred from the gifs I have chosen for this post, I am focusing on the classic chic flick. Specifically from the three decades; the 1980's, 1990's, and 2000's. There are many films that are considered to define a generation and the films that I have chosen to define the three mention decades are  16 Candles , Clueless , and Mean Girls. Each of these films involve a female heroine who is making their way through the trials and tribulations of Hollywood's image of high school. The question that I have chosen to focus on is what are the similaritie

Metropolis is a landmark film in the world of cinema due to its groundwork for what the science fiction genre is today and for the meticulously constructed sets that are showcased in the film which show that this film is very advanced for its time. Albeit Metropolis is an extremely important film and provided the basis for much of the film we know and love today, it has its downfalls in the way in which women are portrayed. In all film, “gender is a part of every story ever told (Gocsik, Barsam, Monahan 56)” but in Metropolis , women are depicted in two ways: as nurturers and as solely sexual objects. Due to the fact that women are portrayed in a much different light than the leading male characters of Metropolis , how does the film’s cinematography aide in this portrayal and affect the reception of the film by audiences? A film’s cinematography is a huge factor in deciding how an audience feels about certain characters and situations and Metropolis is no stranger to this c

...you killed my father, prepare to die." This quote is thrown around my household at least once a week because, in my family's eyes, The Princess Bride is the greatest movie of all time. This movie's got it all: it has action, it has comedy, it has romance, what more could you ask for in a film? For today's post, in an attempt to celebrate the film's 30th anniversary (which was on September 25th btw), I will write a sequence analysis on this classic.  For those of you who have not seen this movie, please put it on your viewing list for Fall Break but first , let me break it down for you.  The Princess Bride  opens on a young boy, played by Fred Savage, sick in bed playing video games when he is interrupted from his staying-at-home bliss by his grandfather who is portrayed by the late Peter Falk. Being the good grandpa he is, Grandfather (as he will be referred to from now on) brought a book to read to his grandson to keep him entertained while he fi

“Back in Dakar they must be saying: ‘Diouana is happy in France. She has a good life.’ For me, France is the kitchen, the living room, the bathroom and my bedroom.”  This harrowing quote is recognized by the main character, Diouana, and to ears of viewers as a complete lie. La Noire de … is the first African film that made a notable impact on European and North American audiences back in the late 1960's. This landmark film was directed by Ousmane Sembène and was loosely based off of the true story of a young African girl who was hired by a similar French couple during this time [ Hoffman, 2016 ] . La Noire de … directly translates to Black Girl in English which is how I will be referring to the film from now on. I found Black Girl to be extremely hard to follow due to the following reasons: 1. there were a multitude of flashbacks alternating back and forth from the time when Diouana was first hired as a caretaker for the children and back to present time where s

The first film screened in my MVC 201 class was Orson Welles' The Third Man. The 1949 film noir follows American Holly Martins through post World War II Vienna and tracks his efforts to discover the true cause of his childhood friend's (Harry Lime) death. Riddled with mystery and suspense, this film keeps the audience guessing as they too try to discover the identity of the third man. The almost documentary-like technique of this film allows viewers to have a unique look in to what life in Vienna was like post-war; this is achieved through a combination of jaunty dialogue and beautiful cinematography. Albeit The Third Man is an older film, this classic stands the test of time. A s the film progresses, we find Holly Martins further entangling himself in the crooked world that Vienna has become. Within the four zones that make up Vienna (the French, American, British, and Russian) there is an underground penicillin ring that is wreaking havoc in Vienna and coincident