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High School Movies > Final Exam > Flashcards

Final Exam Flashcards

1
Q

Which of the following is not a possible feminist intervention in Fast Times at Ridgemont High?

a) protagonist’s point of view
b) the director’s labor
c) visibility of female sexuality
d) pedagogical empowerment
e) presence of an abortion

A

pedagogical empowerment

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2
Q

Which of the following does not symbolize the experience of suburban youth in The Virgin Suicides?

a) teen suicides
b) dying trees
c) asphyxiation party
d) widespread flu
e) decline of the auto industry

A

widespread flu

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3
Q

According to Lesley Speed, which of the following formal elements assert “narrational authority” in Dazed and Confused?

a) coda
b) voice-overs
c) blank style
d) apolitical nostalgia
e) none of the above

A

none of the above

there is no narrational authority in Dazed and Confused

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4
Q

Which of the following best describes “hegemony”?

a) nostalgia and memory
b) invention and convention
c) point of view and music
d) family and structure
e) power and influence

A

power and influence

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5
Q

What does Curt pursue throughout American Graffiti?

a) his father’s car
b) a woman
c) academic success
d) alcohol
e) none of the above

A

a woman

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6
Q

In contrast to the containment of the adolescent spontaneity in American Graffiti, what does Lesley Speed argue Dazed and Confused emphasizes?

a) irrationality and drug use
b) mobility and immediacy
c) memory and forgetting
d) advocacy and agency
e) none of the above

A

mobility and immediacy

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7
Q

Which of the following settings asserts consumption as an organizing logic of identity formation for 80s high school movies?

a) malls
b) drive-ins
c) libraries
d) bedrooms
e) none of the above

A

malls

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8
Q

According to Catherine Driscoll, what are the two primary ways that teen movies structure “rites of passage”? Give an example of each from a film we’ve watched in class.

A

Ritual - prom (Carrie)

Experience of limits - missing curfew (Dazed & Confused)

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9
Q

What are the two ways that Shumway defines nostalgia?

A

Personal nostalgia

Commodified nostalgia

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10
Q

Describe Anthony Bleach’s central thesis in his analysis of Ringwald and Hughes.

A

The female protagonist embraces her femininity while pushing within and around class constraints to gain postfeminist empowerment.

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11
Q

Which of the following themes can be found in Blackboard Jungle?

a) crisis of youth is a crisis of nation
b) youth are responsible for urban decay
c) state monitored testing can lead to community development
d) racial differences make certain educational strategies impossible
e) none of the above

A

crisis of youth is a crisis of nation

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12
Q

Who directed Carrie?

A

Brian DePalma

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13
Q

Which of the following did not contribute to the rise of the teen movie in the 1950s?

a) rise of audience studies
b) invention of Kinemacolor film
c) recognition of teens as a market
d) lagging ticket sales for Hollywood
e) increasing popularity of television

A

invention of Kinemacolor film

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14
Q

Which of the following is true about genres?

a) they are exclusive to film
b) they are reflectionist
c) they do not change over time
d) genres are arbitrary
e) none of the above

A

they are reflectionist

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15
Q

Which song opens Blackboard Jungle?

A

Rock Around the Clock

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16
Q

Which of the following institutions does not structure teen experience in Rebel Without a Cause?

a) law
b) family
c) school
d) military
e) none of the above

A

military

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17
Q

What are the subgenres of 1950s teen movies?

A

Clean teen movies
Juvenile delinquency movies
Horror movies
Rock and roll movies

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18
Q

Which actress starred in both Rebel Without a Cause and Splendor in the Grass?

A

Natalie Wood

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19
Q

Which of the following cannot be found in Splendor in the Grass?

a) sexuality is immoral or dangerous
b) sexuality is a way of expressing individuality
c) sexuality links traditional orientations of power and gender
d) sexuality is independent of ideology
e) none of the above

A

sexuality is independent of ideology

it is definitely linked to ideology

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20
Q

Define the term “ideology”. Identify one prominent ideology in Rock ‘n’ Roll High School.

A

A shared system of ideas and values that characterizes a group.

Music

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21
Q

List the five ways of categorizing genre, and provide an example of each from Splendor in the Grass.

A 
Iconography - crowded high school halls
Setting - high school
Narrative -  youth as a troubled group
Characterization - teachers
Themes - sexuality
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22
Q

Describe Golub’s central thesis in his cultural history of Blackboard Jungle. What is his conclusion?

A

“cultural conversation turned on whether The Blackboard Jungle was a work of sociology or sensationalism—a work of fact or fiction. Ultimately, the controversy generated by this motion picture effectively blurred the boundaries between these two categories, and, in the process, transformed what the “education crisis” meant in the postwar United States.”

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23
Q

“The Politics of Pedagogy”

A

Giroux

Thesis: “Whiteness” as a pedagogy stuck in a reactionary stance and how “whiteness” came to be.

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24
Q

Blackboard Jungle director.

A

Brooks

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25
Q

Blackboard Jungle year.

A

1955

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26
Q

Rebel Without a Cause director.

A

Ray

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27
Q

Rebel Without a Cause year.

A

1955

28
Q

Splendor in the Grass director.

A

Kazan

29
Q

Splendor in the Grass year.

A

1961

30
Q

“They Turned a School into a Jungle”

A

Golub
Thesis: “cultural conversation turned on whether The Blackboard Jungle was a work of sociology or sensationalism—a work of fact or fiction. Ultimately, the controversy generated by this motion picture effectively blurred the boundaries between these two categories, and, in the process, transformed what the “education crisis” meant in the postwar United States.”

31
Q

Carrie director.

A

DePalma

32
Q

Carrie year.

A

1976

33
Q

Rock ‘n’ Roll High School director.

A

Arkush

34
Q

Rock ‘n’ Roll High School year.

A

1979

35
Q

“Subculture: The Meaning of Style”

A

Hebdige

Thesis: Subculture will always be either pushed out or integrated into the culture, often commodified.

36
Q

Fast Times at Ridgemont High director.

A

Amy Heckerling

37
Q

Fast Times at Ridgemont High year.

A

1982

38
Q

Clueless director.

A

Amy Heckerling

39
Q

Clueless year.

A

1995

40
Q

The Breakfast Club director.

A

Hughes

41
Q

The Breakfast Club year.

A

1985

42
Q

The Virgin Suicides director.

A

S. Coppola

43
Q

The Virgin Suicides year.

A

1999

44
Q

“Postfeminist Cliques?”

A 
Bleach
Thesis: Reconsidering the ways in which social class was articulated in 1980s postfeminist culture. Exceptional because it is the figure of a young woman who struggles within or against class constraints. Postfeminist empowerment comes as a result of their negotiations with class differences. Embracing their femininity as a feminist; nostalgic for this character.
45
Q

Dazed and Confused director.

A

Linklater

46
Q

Dazed and Confused year.

A

1993

47
Q

American Graffiti director.

A

Lucas

48
Q

American Graffiti year.

A

1973

49
Q

“Tuesday’s Gone”

A

Speed
Thesis: “The opposition between youth and adult authority is mapped across values and mobility in experimentation versus constraint.”

50
Q

“Rock ‘n’ Roll Sound Tracks”

A

Shumway

Music stands in for nostalgia; simulacrum of the past as a replacement of the past

51
Q

Rushmore director.

A

Anderson

52
Q

Rushmore year.

A

1998

53
Q

Election director.

A

Payne

54
Q

Election year.

A

1999

55
Q

Elephant director.

A

Van Sant

56
Q

Elephant year.

A

2003

57
Q

Heathers director.

A

Lehman

58
Q

Heathers year.

A

1989

59
Q

“Elephant: An Ordinary…”

A

Garry
Thesis: Elephant is a postmodern take on the Columbine shootings that attempts to avoid melodramatic redemption and narrative closure by utilizing realism and presenting the film as a series of facts, not a carefully constructed narrative.

60
Q

“Heathers: Scent of Dominance”

A

Burns
Thesis: Heathers employs pure style (postmodernism, pastiche, parody, satire, etc) and avoids any emotional register or real content.

61
Q

Dangerous Minds director.

A

Smith

62
Q

Dangerous Minds year.

A

1995

63
Q

Stand and Deliver director.

A

Menendez

64
Q

Stand and Deliver year.

A

1988

65
Q

“The Politics of Pedagogy”

A

Giroux

Thesis: “Whiteness” as a pedagogy stuck in a reactionary stance and how “whiteness” came to be.

High School Movies (1 decks)

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