�x.�b�h`�h ��K@Z�E�"aB�L,�X��B?��2��b�`1��[����ě���&��Z-�}��k9�4#�=7��f�ܜe�b.��!|�>�*>�c�Q�D� VF� 3–18. Rebel without a Cause is remarkable for how it mobilises cinematic style to emphasise and draw out the instability of gender and social conventions. Following on the heels of East of Eden, the Brattle's showing this week is the second in the trilogy of James Dean's acting epics, Rebel Without a Cause*. Jim loses the race, but Buzzy loses a lot more when he can't get the door of his car open before it rolls over the cliff. Moreover, Jim’s family is torn by gender conflicts, many of which centre on the father’s emasculation.

And we might add that the context of and anxieties about the Cold War does not help stabilise paternal authority. The film was partially shot in black and white, but the studio then stopped production and reshot in colour. 135 0 obj <>stream 6, No. Such acting produced a ‘layered self’, depths of feeling in which the repressed became visible. The family scene following the chickie run is a great example of high-pitched acting at its best. William H. Whyte, The Organization Man, New York, Simon and Schuster, 1956.

After having seen his father wearing a flowery apron over his grey-flannel suit, Jim becomes increasingly disillusioned about the possibility of getting help from his father, and assertively kicks in his mother’s portrait when he storms out of the house after an argument in a later scene. The Routledge Encyclopedia of Films, Edited by Sarah Barrow, Sabine Haenni and John White, first published in 2015. I chose to watch it because, honestly, I’ve never seen a James Dean film and I felt like I needed to, and I was very amuse d by Dean’s acting ability. !�t�/� �.��U���DG���t�&�6ɔ6/����~h\�}e=,ɥ�g�"���.�kg_)W���@�NI��T����2 $�f���L��2׵ Rq�^F+�╔BF����D�#� Rebel without a Cause was symptomatic of the fifties as a transitional era. Nonetheless, the film’s gender and sexual politics are ambiguous and contradictory enough to be read in multiple ways.

Set in suburban Los Angeles, Rebel without a Cause tells the story of an affluent family and their troubled son, Jim, who makes friends at the local high school with equally troubled teenagers, Judy and Plato.

The plot of the movie largely depends upon the tragedy of misunderstanding; Jim Stark's parents misunderstand him; the same is true for Judy; Plato tries to forget his parents and adopts Jim as his father-image ("Why couldn't you have been my Dad?

Not least because it was seen as targeting a teenage audience, the Production Code Administration (PCA), which enforced the Production Code, a lengthy document outlining what could not be shown on screen, adopted by the film industry in the thirties, voiced concerns about Rebel without a Cause.

Marlon Brando’s The Wild One (1953) popularized juvenile delinquency in films, and Rebel Without a Cause was one of the better movies that dealt with the topic. Jim’s anxiety has everything to do with the troubled nature of the postwar, white, suburban family. Rebel Without a Cause An alienated teenager tries to ... During the planetarium show, the lecturer remarks about man's insignificance in the vast universe and presents a light show demonstrating the end of the world. Cinematography in On the Waterfront, Rebel without a Cause, and The Third Man Of all the aesthetic components that stylize a film, cinematography, the way in which the camera lens is used as a creative instrument to capture the character’s actions and mise-en-scene, is … ~+@��8��U�^gh1�\E�Hb�"2Y.u`��/ĨP]�n��$5[3zi�&��M��"���I��$m��o�E��+I���+�E�i�"E�.�zN�Rx~�k�(K��]ԕDMKω.�%}�%A�/Y��1��2l������3Yt�b��3�LmvՍKf����'�ehf�R�hִ��JJ/i�ʻ����3RHc�NYtº� ^�z�D�i��3c�NC﹵����=�Kݼ.Yh�I2�L���%��{�eeHC\�ּL�@�"LA�@�^h���w׿�_��E唢^�*��t����~�:E�)����U��F�� ������U9w���X����L����T��ص���loI���K(�y�f�"����S���|-���W��y �S�~R�f��w�.�ګ��"��z��?�.c�. 41, Spring 1998, pp. For two hours of fine acting, social criticism interwoven with pathos and sentimental memories of adolescence, Rebel Without a Cause is a movie to be seen by everyone. As a film that addressed both social problems and a teenage audience, Rebel without a Cause can be placed within a larger group of widely diverging films, ranging from George Lucas’ American Graffiti (1973), to the teen comedies of John Hughes, and the more politically charged Boys Don’t Cry (Kimberly Peirce, 1999), based on the actual murder of a transgender man in Nebraska. Natalie Wood provides the love interest. y Jay arr “The A List: The National Society of Film ritics’ 100 Essential Films,” 2002 In that sense it was part of a larger discourse about the performance of the body, which can also be found, for instance, in the fiction of Jack Kerouac or the poetry of Allen Ginsberg (Braudy 1996: 194). Director: Nicholas Ray.

56–63. ), Rebel Without a Cause: Approaches to a Maverick Masterwork, Albany, State University of New York Press, 2005. A WarnerColor Cinemascope production starring James Dean and Natalie Wood, borrowing its title from a 1944 non-fiction book, the film was part of a larger shift in Hollywood towards addressing a teenage audience, at a time when teenagers started to be seen as a distinct subculture in marketing terms. Rebel without a Cause can thus easily be called a paternal melodrama – where what is at stake is the ability of fathers to become role models.

That Rebel without a Cause is connected to such widely different films suggests how it can be read in different ways, how, in the guise of popular entertainment, it lay bare the contradictions within American social conventions.

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