To what degree does nostalgia influence period pieces? The 1980s are often attributed as the decade in which the Teen (also known as the Coming of Age) movie exploded as a genre. How comparable are films made in the 21st century, but set in the 1980s, to those made and released in that original time period? Are these more current films simply rehashing the stories that have been shown in the 1980s?
The definition of nostalgia is longing and having an affection for the past, usually because of a personal connection. This is not inherently a negative, but this essay will explore how it could be a negative factor. The 1981 article “Film Genres and the Genre Film” by Thomas Schatz will be used as a springboard for defining Coming of Age Films as not just a sub-genre, but its own genre. “…The genre exists as a sort of tacit ‘contract’ between filmmakers audience…” (16). Some consider Nicholas Ray’s 1955 film Rebel Without a Cause, to be the first traditional Coming of Age film. The focus of this essay will be predominantly on American films, specifically English speaking ones. Many of the genre characteristic that are seen in Rebel Without a Cause carry over to other Coming of Age films, however it is interesting where and why the films’ diverge.
A set of genre expectations will be established by discussing the following seven films from the ‘80s. Fast Times at Ridgemont High (Amy Heckerling, 1982), Valley Girl (Martha Coolidge, 1983), Sixteen Candles (John Hughes, 1984), as well as The Karate Kid (John G. Avildsen, 1984). Then The Breakfast Club (John Hughes, 1985). Lastly, Some Kind of Wonderful (Howard Deutch, 1987) which was written by John Hughes.
There are common character and story tropes in all these films, as expected as they’re from the same time period and genre. The most apparent, aside from a lack of racial diversity, is the importance placed of class systems and wealth. This is also the greatest area in which more contemporary films, which are set in the same time period, differ. The contemporary films that will be looked at are: Adventureland (Greg Mottola, 2009), Sing Street (John Carney, 2016), and Call Me By Your Name (Luca Guadagnino, 2017).
The photo gallery has stills from the ten films mentioned above. The gallery randomizes. When looking at the photos, go beyond attempting to identify which are ‘authentic’. What do they have in common? Where do they differ? What do the stills show about their place in the history of cinema?