young adult ( film )
young adult may be the year' s most engaging feel - bad movie .
charlize theron starrer' young adult' opens in limited release dec. 9 | hollywood reporter
the cast of jason reitman ’s new film young adult has been selected to receive the vanguard award, which recognizes an outstanding creative ensemble, at the 23rd annual palm springs international film festival .
coolly truculent … charlize theron in young adult. photograph: photo credit: phillip v. caruso
matched their precursors’ success rates. as the first young adult book series in america to achieve a
charlize theron is riveting in a mouthwateringly sour anti - romantic comedy young adult, finds robbie collin .
two australian writers have signed a deal with brad pitt' s movie production company to turn their best - selling young adult science fiction thriller into a major hollywood film .
young adult reunites reitman with juno scribe diablo cody, and stars charlize theron, patrick wilson and patton oswalt .
we spoke separately with theron, cody and reitman as they each described how they committed young adult - ery .
“young adult” is rated r (under 17 requires accompanying parent or adult guardian). harsh language, bad sex, unpleasant situations — grown - up stuff, in other words .
young adult shows us that recessions can be emotional as well as financial, and even erotic capital isn’t safe from the slump .
487 pp. katherine tegen books / harpercollins publishers. $ 17. 99. (young adult; ages 14 and up )
the heroine in “juno” was briefly dazzled by jason bateman’s cool, not - nice guy, but she eventually found her way back to the sweet loser played by michael cera. that was impeccable young adult logic, but “young adult” itself is a little more complicated, and much harsher .
as good as theron and oswalt are, and they' re very good, young adult doesn' t give them enough room to breathe .
paramount will launch jason reitman' s young adult in a limited run on dec. 9, followed by a nationwide bow on dec. 16 .
what do you guys think? did we leave out a reason why you think young adult craze is seemingly over? let us know in the comments .
romney, jonathan .
film of the week: how i live now .
film comment. 7 november 2013. 23 april 2014. < urltoken > .
jason reitman' s new film selected to receive the fest' s vanguard award .
this review was originally published on september 11, during the toronto international film festival .
1 i analysed tris as a young adult dystopian heroine in a paper that was presented at the sf / f now conference at warwick university, 22 august 2014 .
fji: talking about young - adult novels: diablo, in 2009, you were going to write and produce an adaptation of
sweet valley high
for universal .
hintz, carrie. “monica hughes, lois lowry, and young adult dystopias. ” the lion and the unicorn 26. 2 (2002): 254 - 264 .
five years ago, young adult book adaptations were all the rage in hollywood. but in 2016, the ones that remain may be the last of a dying breed .
the studio is using the same release pattern for young adult - - a likely awards contender - - it employed with the fighter last year. that film opened on the same weekend in four theaters, expanding into a total of 2, 503 locations the next weekend .
charlize theron tries to steal her bland, nice - guy old flame from his wife in
young adult ,
opening dec. 9 in manhattan and going wide next week .
anna silver discusses the reasons why young adult literature about adolescence and a young person’s formation of identity sells so well. “during this luminal time, most adolescents prepare to leave the home and take on the increased responsibilities of adulthood... . young adult literature, whether realistic or fantastic, engages with these issues of identity” (123). such an identification process is fuelled by empathy and, as keen affirms, “empathy sells books” (105) .
, in its serialized version, is about the emotions of relating, and its young adult protagonists tell us stories of love and anger—those same emotions associated with relationships. keith oatley observes in
reitman and cody have worked together before on juno, an oscar - winning comedy - drama in which pregnancy turns a coolly insouciant teenager into a mature young woman. from a similar jumping - off point, young adult pounces, cougar - like, in an entirely different direction .
westerfeld, scott .
breaking down the' system' .
the dark side of young adult fiction. the new york times. 27 december 2010. 16 march 2014. < urltoken > .
young jeezy on thug motivation 103, occupying the hood, and his bond with samuel l. jackson
city of ember. dir. gil kenan. 20th century fox film corporation / fox - walden, 2008 .
kallay, jasmina. gaming film: how games are reshaping contemporary cinema. basingstoke: palgrave macmillan, 2013 .
an interview with writer / director boots riley about his incendiary new film ,
sorry to bother you .
independent film and tv producer komixx entertainment has optioned worldwide screen rights to the “ cherub ” series of young adult spy novels. the london - based production company, which has offices in l. a. and australia and studio facilities in northern england, will develop a drama series based on the 18 - book series .
box office mojo .
young - adult book adaptations: adaptations of books aimed at 10 - 17 year - olds .
box office mojo. 23 october 2014. 24 october 2014. < urltoken > .
are presented as positively involved in what is happening to their children precludes a youth - culture story of the kind favored by authors of young adult pop fiction. lev grossman interprets meyer’s beliefs as a mormon in his
forget what the poster and name imply about the film and the fact that it comes from the duo behind the sweet and quirky juno... it' s a painfully realistic film that manages to be pretty funny nonetheless .
2 a dissimilar dystopian aesthetic is established in the film’s sequel, insurgent (2015). in this film, chicago is coded as the city of post - apocalyptic science fiction. i discussed insurgent with the maze runner in the paper, “moving mazes: genre, hero and place in young adult dystopian cinema”. this was given at the conference brave new worlds: the dystopic in modern & contemporary culture at newcastle university, 30th april 2015 .
vi diane sheets insists in this same article that there is a pronounced gender gap in reading habits, in which girls read far more than boys which would explain this series “phenomenal success” despite “its calculated decision to forsake half the young adult audience in order to present the fevered consciousness of one hormonal young woman” (3) .
and yet mavis can look at him and complain, without irony, about how much she has suffered in her life. her cruelty and self - pity are downright shocking. if ms. theron hadn’t already appeared in a film called “monster” (for which she won an oscar), that title might suit “young adult” just as well .
​the deal caps off an incredible four weeks for the melbourne authors in which their novel debuted on the new york times' young adult hardcover bestseller list and raced to number three soon after its international release on october 20 .
the double - meaning title of young adult —the new paramount comedy - drama re - teaming diablo cody and jason reitman, the writer and director, respectively, of oscar - script sleeper juno —refers both to the literary niche of novels aimed at teenagers and to mavis gary (charlize theron), who in our present world of maturity - challenged baby - men and apatow avatars is a woman who, at 37, is still a young adult .
asked if the film would be a star vehicle for brad pitt, kaufman said :
a girl can hope .
these bookish flare - ups have been particularly numerous in the past few months: 2014 has been a big year for people with a lot of feelings about young adult literature. in the us, there was the “greenlit” controversy, when
after i left the screening of
young adult ,
my thoughts were mixed. with
thank you for smoking ,
juno
and
up in the air ,
jason reitman has an incredible track record. those films were all so rewarding. the character of mavis makes
young adult
tricky to process. as i absorbed it, i realized what a fearless character study it is. that sometimes it' s funny doesn' t hurt .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
the adaptation: disney pounced and acquired the film rights when this book came out back in 2015. prometheus producer michael costigan was said to be in talks to produce the film, but we haven' t gotten much movement on this one lately .
but nothing appears to cause more anxiety than the question of who, exactly, should be reading these books. is it because in reality, the majority of young - adult readers are not particularly young? a widely - reported 2012 study found that in the us, more than half of ya books were being purchased by people over 18 – and
academy award - winning actress charlize theron discusses her attraction to roles that' scare' her and her new dark comedy ,
young adult ,
in theaters dec. 9. (nov. 28, 2011) photo credit: ap
the impossibilities of mavis' behavior in
young adult
require some sort of cushioning, and the film wisely provides the character of matt freehauf, played by the comedian patton oswalt. matt and mavis had nothing to do with each other in high school .
i remember you !
mavis now tells him .
you' re the hate crime guy !
independent film and tv producer komixx entertainment has optioned worldwide screen rights to the “cherub” series of young adult spy novels. the london - based production company, which has offices in l. a. and australia and studio facilities in northern england, will develop a drama series based on the 18 - book series. created by british author robert muchamore, the [ … ]
to occur when it is drawn out into a serialized version. for instance, the young adult reader identifies with bella to the extent that he / she feels her pain, confusion and affection—and wants to buy the next book in the series .
' young adult
did location shooting in minnesota, where the film takes place, but subbing for the fictional town of mercury were white plains, nanuet, new city, tappan, ardsley and port chester, upstate, and both garden city and massapequa park here on long island. (there were also a few days on a soundstage at jc studios in brooklyn. )
the problem with people who think they’ve grown up without growing old is that they’ve invariably done the opposite. young adult, a mouthwateringly sour anti - romantic comedy directed by jason reitman and written by diablo cody, is about a particularly nasty case .
divergent is successful in remediating dystopia for a young demographic. there is a dynamic tension in the novel between the heroine, the valorisation of classification, the psychological motif of divergence, self - development, and dystopian location. this tension is visualised through a reworking of conventional dystopian cinematic space. divergent ’ s youth - oriented production design, extending to related transmedia and the commercial intertext is part of its appeal, supporting the key portrayal of tris and her journey. the film shares motifs with other young adult dystopian films, including selection and game - oriented adventure. these are central to the hunger games, but young adult dystopian cinema may organise such motifs to more play - oriented effect than in the latter franchise. divergent’s rendering of dystopia, like that of other young adult dystopian adaptations, is separate from the source novels and from canonic dystopian and science fiction cinema, yet it draws on all of these. this is not a simulated dystopia, but a repurposed one, with its own heroic configuration .
“‘cherub’ stands alone as an internationally successful and globally loved series, ” said andrew cole - bulgin, group chief creative officer and head of film and tv for komixx entertainment. “it’s a fantastic opportunity to take on an exciting and gritty thriller series that has already been breaking taboos for young - adult literature, and create a dynamic new drama series for this thrill - seeking generation. ”
tedman, a. “moving mazes: genre, hero and place in young adult dystopian cinema”. brave new worlds: the dystopic in modern & contemporary culture, 29th - 30th april 2015, newcastle university, newcastle, uk. unpublished conference paper 2015 .
komixx’s roster of young - adult productions already includes a feature adaptation of welsh teen author beth reekles’ “the kissing booth” for netflix. the company is also developing a thriller series based on simon mayo’s “itch” books and an adaptation of “the winter horses” by phillip kerr .
at 16 – and who would read it again today in a heartbeat. i, who continue to read young adult literature, who just this year fell in love with a novel about a girl who is, on a fannish level, me: rainbow rowell’s
somehow, the film is very enjoyable - - most likely because it has cody' s sense of humor and celebration of human shortcomings .
they must have closed their eyes and crossed their fingers while they were making this film. it breaks with form, doesn' t follow our expectations, and is about a heroine we like less at the end than at the beginning. there are countless movies about queen bitches in high school, but
young adult
has its revenge by showing how miserable they can be when they' re pushing 40 .
copyright © 2005 - 2018 / film. privacy policy / cookie policy. web design by pro blog design. logo concept by: illumination ink
was a franchise that didn’t earn favorable reviews for any of its entries, but the dedicated fan base drove the film series to great success .
young tk. the health of native americans: toward a biocultural epidemiology. new york, ny: oxford university press; 1994 .
looking at the documentary selections, i was at first disappointed not to see senna included, but it is possible the film wasn’t eligible for consideration .
fresh off the heels of his final performance in the broadway juggernaut hamilton, fast rapper and actor daveed diggs seems to be parlaying his theatrical success into sustainable longevity on film. according to the hollywood reporter, diggs, who earned a tony award for his portrayal of thomas jefferson and marquis de lafayette, will be joining the cast of wonder, an adaptation of the best - selling young adult novel by r. j. palacio .
“what is more bittersweet than realizing that your glory days, particularly those in high school, when everything was possible, may truly be a thing of the past, ” festival chairman harold matzner said in announcing the honor. “in young adult, a writer of teen literature gets a major reality check when her plan to reclaim a former high school sweetheart goes awry, but leads her to forge an unlikely bond with a former classmate who is similarly time warp - challenged. young adult (is) a truly unique and utterly enjoyable film. the filmmakers and cast represent the some of the best and most exciting filmmaking work of the year and have delivered a biting black comedy as deeply poignant as it is funny. ”
the ballad of narayama
is a japanese film of great beauty and elegant artifice, telling a story of startling cruelty. what a space it opens…
while the underlying concept of the series is the examination of a big social experiment, this gets lost in the film. extremely lackluster fare, overall .
one of young adult’s greatest strengths is that, even on the few occasions when it does go where you expect, it goes there via an unexpected detour: without revealing too much, there’s a sex scene that one member of this cast will have never dreamed would end up on their cv .
kaufman and kristof are already two of australia' s biggest exports in the field of young adult fiction. kaufman is the co - author of the starbound trilogy, currently in development at mgm television, and has just sold her own middle grade fantasy - adventure trilogy, due for release in 2018 .
- century heroine moving in and out of a world of supernatural misfits of which she feels a part. for a young reader, the theme of
in a supernatural guise. such a scenario attracts those young adult readers for whom the real world seems “too dismal, too drab, too dull, and too dead, then virtual reality as imagined in a fictional universe provides the tantalizing possibility of empowerment, free choice, and opportunity. ” the critic notes that
hit theaters, anticipation was so low it ended up as the lowest grossing film in the series — not something often seen in the final entries in film series. some books can be broken up into two parts, but other shouldn’t, especially when that decision is driven more by financial game and has nothing to do with storytelling .
as much as we live in an age of the superhero blockbuster film, we’re also witnessing an unprecedented amount of film adaptations of young adult novels. last year alone saw, among others, the commercially successful screen adaptations of john green’s the fault in our stars, suzanne collins’ mockingjay (the final installment of the hunger games trilogy, which has been split into two films), veronica roth’s divergent, and james dashner’s the maze runner. these titles are perhaps the most recognizable, but are just a sampling of the plethora of ya adaptations out there, which extend into the world of television with shows such as pretty little liars and the 100 .
the charlize theron dark comedy young adult opened wide this past weekend, but the release was sort of a hedged bet: unlike the slowwww, months - long expansion of the descendants, paramount pushed young adult into nearly a thousand theaters after teasing it in just eight last week. the box - office results were inconclusive, but for those of us who' ve seen it, this spiky reteaming of director jason reitman and screenwriter diablo cody still gave us plenty to talk about afterward. let' s stuff our yippy little dogs in our purses and convene a meeting of the monday movie club, but beware: there will be spoilers .
urltoken - click to subscribe! urltoken - become a fan! urltoken - follow us! young adult hits theaters on december 16th, 2011. cast: charlize theron, patton oswalt, patrick wilson, elizabeth reaser academy award winner charlize theron plays mavis gary, a writer of teen literature who returns to her small hometown to relive her glory days and attempt to reclaim her happily married high school sweetheart (patrick wilson). when returning home proves more difficult than she thought, mavis forms an unusual bond with a former classmate (patton oswalt) who hasn' t quite gotten over high school, either. young adult trailer courtesy paramount pictures .
theron: i didn' t grow up with young - adult books. wish i did. i can' t imagine being a teenager [ today ] and not reading that stuff. it' s so geared toward that kind of mindset, it' s amazing. no 16 - year - old should be reading bukowski .
there’s an odd line in roger ebert’s otherwise mostly astute review of young adult, the new movie written by diablo cody, directed by jason reitman, and starring charlize theron as mavis gary, a ya - fiction writer who goes back to her hometown to seduce her high school boyfriend away from his wife and new baby. ebert points out, rightly, that mavis is an alcoholic, then claims that “civilians (and some of the critics writing about this film) are slow to recognize alcoholism. ”
the film, divergent constructs a pleasurable aesthetics of dystopian categorisation. in adult dystopian fiction such as orwell’s canonical 1984, the categorisation of the individual within society is visualised as part of a totalitarian nightmare. threatening regimes are often found in young adult fiction, mitigated by teenage trust and bonding, but in the novel of divergent there is no perceptible totalitarian authority. tris accepts the faction system, although she is aware that ‘faction customs…supersede individual preference’ (roth, divergent 9). roth has spoken in interviews of her initial pleasure in the “personal... world - building” of the faction system, influenced by personality tests, and by the giver and the harry potter novels :
the story follows a young adult author (theron) who returns to her hometown in the hopes of reclaiming her happy youth - - and her now - married high school sweetheart (wilson .). but her plan doesn' t go so well, and she soon forms an unusual bond with another former classmate (oswalt) .
fisher, mark. “precarious dystopias: the hunger games, in time, and never let me go. ” film quarterly 65. 4 (2012): 27 - 33 .
what warrants an in - depth study of this paranormal, traditional romance, however, is the role that the adolescent or young adult reader played in converting it into a cross - cultural phenomenon. an analysis of the role of empathy in meyer’ narrative provides a better understanding of how this author has been able to make an old story look new :
that' s even how she intended it .
it' s midwestern humor ,
explains cody, who grew up in illinois and, like mavis, was a young adult in minneapolis. when told of the screening audience' s reaction, she thought about it for a moment and then realized ,
that line is kind of horrifying .
reitman: i have a film i' m going to be making next year called labor day and it got pushed and a window opened up and i had the opportunity to make this .
power, aidan. ”panic on the streets of london. tourism and british dystopian cinema. ” science fiction film and television. 7. 1. (2014): 77 - 98 .
* please note * applicants who live in san francisco and are between the ages of 18 - 25 will be given priority. check the box below to certify that you have read your application and are ready to submit. thank you for applying to participate in baycat young adult workshops! a baycat team member will contact you via email to confirm your workshop date .
waldram jb, herring da, young tk. aboriginal health in canada: historical, cultural, and epidemiological perspectives. toronto, ontario: university of toronto press; 1995 .
finally, we meet chiron as a young adult, played with remarkable subtlety by trevante rhodes. kevin (now played by andré holland of “the knick”) reaches out to a very - different chiron, and the film’s themes coalesce in a surprisingly emotionally resonant way without monologues or heavy - handed melodrama. in a sense, “moonlight” is a coming - of - age story about a boy often overlooked by society, that little kid not cool enough to hang with the bigger ones and without the support of a family to keep him from simply disappearing into the night .
cast members from the film including charlize theron and patton oswalt, director jason reitman and screenwriter diablo cody are expected to attend the awards gala on jan. 7 at the palm springs convention center .
film has a rotten tomatoes rating of 40% . that franchise is fading quicker than it arrived. taking a look at the multitude of ya movies - beautiful creatures, the 5th wave, the maze runner, i am number four - only one film gets out of the 40s in rating, and most are rated lower than 30% . if the movie isn’t well adapted, then the movie ends up losing the fans that have read the books. nobody wants to pay money to see a bad film, and the paralleling decline in critical reception and box office decline isn’t a coincidence .
specifically. parks’s comment might have been a throwaway line, but it’s not an outlier. something curious has been happening in the book world recently: a whole lot of adults appear to suddenly have a whole lot of opinions about young adult literature (ya) – and a desperate need to express them. (yes, i’m well aware of the irony here: i am
a tart, abrasive character study of a seriously messed up writer who pens a twisted new episode to her own life, the pungent young adult feels like a chapter in what by rights should be a longer film or novel. as if deliberately setting out to make something less warm and friendly than his genial first three features, jason reitman reunites here with his juno cohort diablo cody on a smartly observed, well acted but narrowly conceived story about a deluded author of teen novels who plots to win back her high school boyfriend, who' s now a happily married dad .
let' s discuss the nineties alt - rock soundtrack. teenage fanclub! suicidal tendencies! young adult has a very specific mixtape sensibility, and while it does include the easy layup of
what' s up
by 4 non blondes, it' s nice to revisit the nineties through a soundtrack that has more to offer than just
remember semisonic? remember spin doctors ?
one of the incidental pleasures of “young adult” is its specific sense of generational identity. the logos of bands like black flag, the breeders and — of course, this being minnesota — the replacements serve as tokens of belonging and signifiers of nostalgia. on the road from minneapolis to mercury, mavis plays an old mixtape (an actual cassette, by the way) from buddy, fixating on “the concept” by teenage fanclub, which serves as the film’s ambiguous anthem. it evokes warm and affectionate memories, but also, in her case, the pathological inability to let go of the past .
daveed’s inclusion rounds out a cast that includes julia roberts, owen wilson and jacob tremblay, the young actor who captured critics’ attention with his performance in room. tremblay will play auggie pullman, a young boy born with a facial deformity who experiences bullying as he begins life as a fifth - grader at a private elementary school. diggs is set to portray auggie’s teacher .
as well as sequels, remakes, and comic book adaptations, there’s one kind of movie you can feel fairly sure is going to keep popping up at a cinema near you: young adult adaptations. stories about teenagers are still doing big business in the book trade, and thanks to harry potter, twilight, and the hunger games, hollywood is convinced of the genre’s appeal, too .
were both well received (for the most part) and still hold up remarkably well years after the films ended. but those are the big ya franchises, and not every film can stand negative reviews .
jenkins and his technical team shoot miami in a way that we don’t often see, using their setting brilliantly, especially the way that the water and the beach around it can feel like a break from the troubles of the real world. but
moonlight
is a film about faces. chiron’s eyes say so much that this young man has not been taught how to express. he is young, black, gay, poor, and largely friendless—the kind of person who feels like he could literally vanish from being so unseen by the world. during one of the film’s many memorable dialogue exchanges (written by jenkins, adapted from a play by tarell mccraney), chiron speaks of crying so much in his life that he feels like he could simply turn to liquid and roll into the ocean .
created by british author robert muchamore, the “ cherub ” books are a young - adult thriller series, first published in 2004, which have sold more than 10 million copies worldwide and been translated into 25 languages. they follow the undercover missions of a team of teenage secret agents who work for a special division of the british security service known as “cherub, ” operating under the radar of adults .
creenwriter diablo cody' s first film, juno, was full of scared teenagers who talked like thirtysomethings; this new one is full of scared thirtysomethings who talk like teenagers. again, cody has worked with director
with the decline of the divergent series, the ya film adaptation franchise may be a bit past its harry potter heyday — we' ll have to wait and see — but there are always ya novels in development .
charlize theron plays the irresistibly unpleasant mavis gary, an attractive single woman in her mid - thirties whose juvenile, self - involved mindset has served her well in a career writing novels for the young adult market. mavis lives by herself in the city (in this case, minneapolis), drinks diet coke for breakfast and bourbon for dinner, and owns a gonkish little dog called – what else? – dolce .
miller, laura .
fresh hell: what' s behind the boom in dystopian fiction for young readers ?
the new yorker. 14 june 2010. 16 april 2014. < urltoken > .
franchise potential: rowell has mentioned wanting to maybe return to those characters one day, but no, it’s a standalone story at the moment. rowell' s other novels fangirl and carry on seem ripe for film adaptation .
it’s no great mystery why hollywood keeps looking for material in the young - adult section of barnes & noble. when a ya series hits, it hits big. but for every harry potter, katniss everdeen, or bella swan, there are five alex riders; not every kid - or teen - lit character makes a profitable leap from page to screen. below, we’ve singled out 21 movies, all based on popular book series for young readers, that failed to inspire a corresponding hit movie franchise. narnia, which made it to three films, is exempt. percy jackson, which somehow limped to two, is not .
is a surprisingly potent and insightful dramedy, all the more effective for its understated nature and its off - the - cuff black comedy construction. the film continues diablo cody' s exploration of how women are treated (both by men and by other women), and how the superficial societal standards of feminine success makes all women eventually feel like failures. it will be interesting to see how the film is received in an era where female - centric franchises (
letty aronson (midnight in paris), a top contender for the best picture oscar, was presented with the hollywood producer award by her film' s star owen wilson. the reception that both of them - - and the clip of their film - - received from the audience only enhances my current suspicion that it will wind up as one of this year' s best picture nominees even if there are only five films that make the cut in the category .
speaking of weird, the film rights to this book were picked up by fickle fish films. that’s stephenie meyer’s production company. yes, that stephenie meyer. this movie is going ahead, with den of geek favorite cameron monaghan (
hobfoll se, jackson a, hobfoll i, pierce ca, young s. the impact of communal - mastery versus self - mastery on emotional outcomes during stressful conditions: a prospective study of native american women .
the search for the next great franchise never ends in hollywood. currently, the big fad is comic book movies, but book adaptations will always be library from which studios can adapt material. everything changed for book adaptations in the early 2000s when harry potter took the world by storm with its massive success and trail blazed the path for future young adult books to be turned into movies. this set the tone for what is being reaped now .
eloved mystery novel to the big screen, there is always room for new movies in theaters. this idea, though, does not apply to ya adaptations. simply put, they follow the same tropes and can be closely associated with others with the genre. how many chosen one stories can be told, or love triangles become interesting? this brings about the main issue with the declining interest in the young adult craze: the novelty is gone .
of course: the vague sense of outrage some people seemed to feel when adults flocked to it – made worse when the publishers had the gall to reprint them with “adult” covers. it was the endless mocking that “paranormal romance” has received since
- century young adult pop fiction. meyer avoids explicit sex or violence, and instead weaves a thrilling supernatural tale that sheds light on very traditional relationships amongst the attractive characters. commitment, sustained by will power and sacrifice, is the essence of meyer’s literary universe. if packaged differently, such an old - fashioned message may have fallen flat in terms of reader response. the involvement and believability of the supernatural misfits give a new twist to the romance narrative paradigm .
the film jumps to chiron as a teenager, dealing with more intense bullying and questions about sexuality. these are the years in which everyone claims to be sleeping around and a young man like chiron (now played by ashton sanders) struggles to find himself, especially now that all semblance of a normal home life is gone. he literally has nothing, and it takes kindness from his friend kevin (played by jharrel jerome at this age) to bring him comfort. but even that is turned in a time, place and age in which compassion is sorely lacking, when young men believe that violence is the answer to what will make them feel better or allow them to fit in .
young adult dystopian cinema’s emphasis on subjectivity and shared visions of other environments can offset hostile dystopian narrative spaces in which the hero is forced back onto her or his own resources. in divergent, simulated environments forward the romance narrative as they enable tris to share four’s fear landscape. in how i live now, a film that jonathan romney aptly places in a tradition of “apocalyptic british ruralism”, american teenager daisy falls in love with her english cousin eddie before war separates them. in the novel, daisy has a telepathic sense of eddie’s presence if she is in “a certain state of mind” (rosoff 96). the film puts this into visual terms, first in an utopian, idyllic vision of eddie in the garden in which he tells daisy ‘i’m home’ before the image fades to white, and later in an abject vision of eddie buried in the earth, and calling ‘help me! ’. these visions give powerful impetus to her desire to return home to him .
the book: in the future, an evil corporate dictatorship controls everything –but a young woman with clairvoyant powers might be about to change that. if she can avoid the criminal underworld and inter - dimensional beings, that is .
when all five honorees in attendance gathered together on the stage, they were asked which film or performance other than their own they really loved this season. woodley championed beginners (
i wish it never ended
); serkis hailed tyrannosaur (
one of the most powerful movies i' ve ever seen
); oswalt recommended martha marcy may marlene (and particularly john hawkes performance); bichir talked up a separation (
a wonderful film... well - written
); and mara demurred .
sobchak, vivian. “cities on the edge of time: the urban science - fiction film. ” alien zone ii: the spaces of science - fiction cinema. ed. annette kuhn. london and new york: verso, 1999. 123 - 143 .
the book: in a world where only young people can see and defeat ghosts, demons, and other assorted spooks, a team of teen exorcists heads to a legendarily haunted house to try to solve the mystery of the screaming staircase .
i couldn’t help imagining this world as i read “divergent, ” the first in a planned trilogy of young adult novels set in a dystopian future and written by veronica roth, who sold the book in a major pre - ­emptive bid before she even graduated from northwestern last year. with “divergent, ” roth adds to a genre that has crossed over from having a vague cultural moment to being a full - bore trend, much of it driven by the wild success of suzanne collins’s “hunger games” trilogy .
in the film but not in the novel, tris’s aptitude test begins with a simulated hall of mirrors. in roth’s novel, mirrors are used naturalistically to illustrate selflessness or personal alteration, since abnegation’s rules specify that tris may look at herself only when her hair is cut. reflections are deliberately used throughout the film as a motif of identity and to create identification. the mirror sim intentionally furthers burger’s experimentation on the 2011 film limitless, with “psychotropic visual effects, using mirrors and infinity reflections” to convey mental states (burger). in this visual effects sequence by method studio, tris circles herself as the camera moves 360 degrees, while she is replicated into infinity, then addressed by a simulacrum that asks her to choose. the visual effects supervisor for method studios, matt dessero, explains that :
the protagonist of “moonlight” reflects the conflicted and fluid masculinity of young african - american men in the united states, even in just the way he’s presented. the film is divided into three chapters—“little, ” “chiron” and “black”—the three names used to refer to the same person that we follow from childhood through adolescence to adulthood. he’s a boy and then a man who has trouble figuring out his place in the world, which is also articulated by the character being played by three separate, all - remarkable actors .
emmanuel lubezki (the tree of life), who is a top contender for the best cinematography oscar, was presented with the hollywood cinematographer award by ben affleck, one of the stars of the untitled terrence malick film that lubezki is editing. affleck, sporting a beard, sung lubezki' s praises and emphasized that much of his best work didn' t even make it into the highlight reel that preceded his introduction. lubezki profusely thanked affleck for coming to present him with the award despite being in the midst of shooting a film .
a very depressing and horrible film, which has some how drawn me and involved me into it' s world. mavis is such a horrible, uncaring and unchanging character, but something makes me love her and hope that she' ll sort herself out one day .
stephen mirrione (the ides of march), who is a top contender for the best film editing oscar, was presented with the hollywood film editor award by george clooney, who has had him edit three of the four films he has directed - - good night, and good luck, leatherheads, and ides - - and several other films in which he has starred, which clooney joked about :
he edited oceans 11, 12, and 13. he actually completely edited out 14 - - he did that for you guys !
deftly done in every respect, this paramount release, which oddly bypassed the fall festival circuit, is much closer in feel to an indie - style film than to a major studio production, making it a curious choice for a christmas launch. okay commercial results look likely .
an amazing little movie with a streep - wise performance by theron—who impossibly, impeccably, gives her character humanity— young adult cost a modest $ 12 million to make and was shot in 30 days. like the wrestler or crazy heart or even reitman' s own up in the air, it' s one of those small end - of - year films that, rightfully, charms audiences and academy voters alike. ok, maybe we' re kvelling —but how many movies with such a distinctly midwestern milieu make you kvell ?
on friday evening, six actors were honored with virtuoso awards at santa barbara' s historic arlington theatre as part of 27th annual santa barbara international film festival. three will soon be heading to the oscars and three will not be. from the former category were best actor nominee demian bichir (a better life), best actress nominee rooney mara (the girl with the dragon tattoo), and best supporting actress nominee melissa mccarthy (bridesmaids), and from the latter category were patton oswalt (young adult), andy serkis (rise of the planet of the apes), and shailene woodley (the descendants). all were in attendance except for mccarthy, who apparently came down with a case of laryngitis. the other five were separately and then collectively interviewed by moderator dave karger of entertainment weekly .
indeed, emotions are, in effect, the reader’s way of acknowledging neediness and lack of self - sufficiency. a literary work becomes an “optical instrument” (nussbaum uses proust’s’ own metaphor to explain how the reader focuses on certain personal realities), and depending on one’s circumstances, one will have a corresponding range of emotions toward the characters in the story being read (22). the adolescent and young adult buyers and readers of fantasy romances react to the sense of life conveyed in the text and share it through an empathic process .
budgeted at a microscopic $ 12 million, says reitman, and shot in 30 days ,
young adult
began as a spec script - - one not written as a paid assignment .
i had been asked repeatedly ,
cody says ,
why i wrote about teenagers so much ,
what with the protagonists of
juno
( 2007) and
jennifer' s body
( 2009) .
and i always had a pat answer. but as time went on i started to think,' why do i? am i having problems growing up, that i need to live vicariously through these young characters?'
she started writing ,
projecting my own fears onto mavis, and then she just started to grow into a dark manifestation of the worst person i could be .
imagine the publishing world as it might look in a dystopian universe in the distant future. in this world, college english majors — call them “englies” — aspire to write only one kind of book: the dystopian young adult novel set in the distant future. (englies of a certain status are permitted to write about dystopias populated by vampires .) another subset of the population — “the fans” — provides a kind of slave labor, posting endlessly to dedicated blogs and recording podcasts, providing free marketing for an unceasing succession of aspiring best - seller trilogies .
fji: let' s talk about how the film came together. diablo, you' ve said mavis is partly based on you. she lives in minneapolis, as you did for a time, so what part of you is she based on besides the living - in - minneapolis part ?
franchise potential: there are four books, disney’s got the rights to all of ‘em, and reportedly production has already begun on the second movie (though we’ve been here before with the mortal instruments, so if the first film doesn’t do well, that second movie might not actually happen) .
bayview - hunters point center for arts and technology (baycat) is a nonprofit social enterprise that educates, empowers and employs young people from historically underserved bay area communities in the digital media arts including: video production, music production, animation, graphic and web design .
basu, balaka, katherine r. broad and carrie hintz. introduction. contemporary dystopian fiction for young adults: brave new teenagers. ed. balaka basu, katherine r. broad and carrie hintz. new york & abingdon: routledge, 2013. 1 - 15 .
divergent makes dystopia both recognisable and appealing to its intended demographic, through its use of style. orange is used intentionally to create warmth in the mise - en - scene at the start of initiation, while an added scene of the initiates’ crowd - surfing is both communal and intimate (burger). by visually connoting the emotional warmth of the groups that share these communal quarters, young adult adaptations transform such spaces into a referent for the narrative trope that has been noted in the novels, whereby the teen protagonists adopt new communities rather than leaving home. by the end of divergent, the viewer is intended to have invested in tris’s desire to succeed within this faction, and with the characters. the film positions its audience to feel loss rather than freedom as the faction and its defences break down, symbolised spatially by jeanine’s attack on abnegation from inside dauntless headquarters .
book or two, and you’re convinced that there is something shallow that is inherent to the young adult novel – to the sort of book that might “as easily be enjoyed by a child”. perhaps you, for some reason i can’t explain or even really understand, might get upset to see many of your peers so enthusiastically engaging with these books. (at the expense of books you love? i don’t even know .) if you aren’t the type to dismiss and diminish (and write think - pieces about it), you might genuinely wonder what you’re missing .
the adaptation: lionsgate bought the rights in 2011, presumably with an eye to launching a new ya film series when the hunger games wraps up. since then, the movie has seen some major movement. doug liman (edge of tomorrow) is directing with tom holland and daisy ridley to star .
cody: this common question i would get at q & as or press junkets or what - have - you was :
why are you so fixated on [ movies about ] adolescents ?
[ i began wondering: ] am i stunted somehow? and so as i thought about my own life, i thought ,
gosh, that would be a great character—a woman in her 30s who writes young - adult fiction and does in fact cling to deluded teenage fantasies in her real life, and is obsessed with recreating her teenage years come hell or high water.
young adult is a 2011 american comedy-drama film directed by jason reitman , from a screenplay written by diablo cody , and starring charlize theron . reitman and cody worked together previously on juno ( 2007 ) . young adult began a limited release on december 9 , 2011 , before expanding to a wide release on december 16 . it received generally positive reviews . 
young adult is a 2011 american comedy-drama film directed by jason reitman, from a screenplay written by diablo cody, and starring charlize theron. reitman and cody worked together previously on juno (2007). young adult began a limited release on december 9, 2011, before expanding to a wide release on december 16. it received generally positive reviews.
young adult is a 2011 american comedy-drama film directed by jason reitman, from a screenplay written by diablo cody, and starring charlize theron. reitman and cody worked together previously on juno (2007). young adult began a limited release on december 9, 2011, before expanding to a wide release on december 16. it received generally positive reviews.