Article:
Ephemeral bodies and threshold creatures: The crisis of the adolescent rite of passage in Sofia Coppola’s THE VIRGIN SUICIDES and Gus Van Sant’s ELEPHANT

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dc.creatorRogers, Anna Backman
dc.date.accessioned2018-09-26T11:38:22Z
dc.date.available2018-09-26T11:38:22Z
dc.date.issued2012
dc.description.abstractThe abiding and predominant tendency of scholarly and critical approaches to American Independent Cinema is to characterise it as a cinema in crisis due to the highly contentious nature of the term ‘independent’. A plethora of recent studies such as those by Gregg Merritt, John Berra, and Michael Newman focus on the very definition, and by extension the possibility, of ‘independence’ in an increasingly commercially-driven business where economic factors often take precedence over the romantic notion of artistic vision and integrity (of which American cinema of the 1970s is often viewed as exemplary). Other scholars such as Geoff King and Jason Wood employ the nebulous term ‘indiewood’ in order to recognise the hybrid nature of independence within the American film industry today. This scholarship is valid and clearly has its place but I would argue that this focus on the notion of independence has resulted in a paucity of material on the aesthetics and poetics of American Independent Cinema. My intention, therefore, is to analyse two American independent films, both of which could readily fit within the ‘indiewood’ paradigm as a cinema of crisis rather than as one merely in crisis.1 I will argue specifically that a dominant trend in American independent film is the exploration of various rites of passage of which one of the most prominent is adolescence (or the ‘teen pic’ genre).en
dc.identifier.doi10.5117/NECSUS2012.1.ROGE
dc.identifier.doihttp://dx.doi.org/10.25969/mediarep/15045
dc.identifier.urihttp://necsus-ejms.org/test-site/ephemeral-bodies-and-threshold-creatures-the-crisis-of-the-adolescent-rite-of-passage-in-sofia-coppolas-the-virgin-suicides-and-gus-van-sants-elephant-by-anna-backman-rogers/
dc.identifier.urihttps://mediarep.org/handle/doc/3197
dc.languageeng
dc.publisherAmsterdam University Press
dc.publisher.placeAmsterdam
dc.relation.isPartOfissn:2213-0217
dc.relation.ispartofseriesNECSUS. European Journal of Media Studies
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/4.0
dc.subjectAdoleszenzde
dc.subjectErwachsenwerdende
dc.subjectKrisede
dc.subjectFilmde
dc.subjectHollywoodde
dc.subjectadolescenceen
dc.subjectcrisisen
dc.subjectfilmen
dc.subject.ddcddc:791
dc.subject.personGus Van Sant
dc.subject.personSofia Coppola
dc.subject.workTHE VIRGIN SUICIDES
dc.subject.workELEPHANT
dc.titleEphemeral bodies and threshold creatures: The crisis of the adolescent rite of passage in Sofia Coppola’s THE VIRGIN SUICIDES and Gus Van Sant’s ELEPHANTen
dc.typearticle
dc.type.statuspublishedVersion
dcterms.bibliographicCitationRogers, Anna Backman (2012): Ephemeral bodies and threshold creatures: The crisis of the adolescent rite of passage in Sofia Coppola’s THE VIRGIN SUICIDES and Gus Van Sant’s ELEPHANT. In: NECSUS. European Journal of Media Studies 1 (1), 148–168. DOI: https://doi.org/10.5117/NECSUS2012.1.ROGE.
dspace.entity.typeArticleen
local.coverpage2021-05-29T05:16:29
local.identifier.firstpublishedhttps://doi.org/10.5117/NECSUS2012.1.ROGE
local.source.epage168
local.source.issue1
local.source.spage148
local.source.volume1
local.subject.gndhttps://d-nb.info/gnd/119373432
local.subject.gndhttps://d-nb.info/gnd/129584800
local.subject.wikidatahttps://www.wikidata.org/wiki/Q25186
local.subject.wikidatahttps://www.wikidata.org/wiki/Q193628
local.subject.wikidatahttps://www.wikidata.org/wiki/Q1423971
local.subject.wikidatahttps://www.wikidata.org/wiki/Q1163943

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