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Where the Boys Are
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summary
The development of young masculine sexuality is still a cultural taboo of sorts, and until now there has been little scholarship available that discusses aspects of boyhood and its relation to cinema—in particular, the process whereby masculinities are socially, historically, economically, aesthetically, and psychologically created in male coming-of-age as depicted onscreen. Where the Boys Are: Cinemas of Masculinity and Youth scrutinizes a broad corpus of films about boyhood within a cross-genre, trans-historical, cross-authorial, and cross-cultural framework. Unlike the filmic investigations before it, this book is not restricted to examining boys as agents of violence, aggression, and withdrawal; or as routinely glossed agents of romance or victims of comedic ridicule. Where the Boys Are is divided into three sections: Archetypes and Facades includes essays that examine historically central typifications of boyhood, the most accessible categories for seeing and understanding boy characters; essays in Bonds and Beautifications analyze the ways boys establish images of themselves and identify with one another in affiliation or love; and essays in Struggles and Redefinitions explore the way boys are depicted in film as aligning themselves in relation to people, forces, ideas, and situations. Using the most current and diverse critical methods, Where the Boys Are is a crucial resource for film scholars and students at any level, and is also the perfect companion to Gateward and Pomerance’s Sugar, Spice, and Everything Nice: Cinemas of Girlhood (Wayne State University Press, 2002).

Table of Contents

  1. Cover
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  1. Half-title Page
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  1. Title Page
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  1. Copyright
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  1. Dedication
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  1. Contents
  2. pp. vii-ix
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  1. Acknowledgments
  2. p. xi
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  1. Introduction
  2. pp. 1-18
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  1. Part 1: Archetypes and Façades
  2. pp. 19-154
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  1. 1. Bad Boys and Hollywood Hype: Gendered Conflict in Juvenile Delinquency Films
  2. pp. 21-40
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  1. 2. Boys Won’t Be Boys: Cross-Gender Masquerade and Queer Agency in Ma Vie en rose
  2. pp. 41-60
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  1. 3. Survival of the Fattest: Contending with the Fat Boy in Children’s Ensemble Films
  2. pp. 61-82
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  1. 4. Crazy from the Heat: Southern Boys and Coming of Age
  2. pp. 83-97
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  1. 5. “Perfect Childhoods”: Larry Clark Puts Boys Onscreen
  2. pp. 98-113
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  1. 6. The Beautiful English Boy: Mark Lester and Oliver!
  2. pp. 114-130
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  1. 7. The Man-Boys of Steven Spielberg
  2. pp. 133-154
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  1. Part 2: Bonds and Beatifications
  2. pp. 155-276
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  1. 8. In Love and Trouble: Teenage Boys and Interracial Romance
  2. pp. 157-182
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  1. 9. The “Wee Men” of Glasgow Grow Up: Boyhood and Urban Space in Small Faces
  2. pp. 183-202
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  1. 10. The Boys’ Price in Martinique: Visions of the Bildungsroman in Sugar Cane Alley
  2. pp. 203-216
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  1. 11. Portrait of the Artist as a Young Boy: François Truffaut, Antoine Doinel, and the Wild Child
  2. pp. 217-232
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  1. 12. Out West: Gus Van Sant’s My Own Private Idaho and the Lost Mother
  2. pp. 233-245
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  1. 13. Mamma’s Boy: Counting on Ghosts, Sending Smoke Signals, and Finding Surrogate Fathers in Contemporary Film
  2. pp. 246-263
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  1. 14. Slack, Slacker, Slackest: Homosocial Bonding Practices in Contemporary Dude Cinema
  2. pp. 264-276
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  1. Part 3: Struggles and Redefinitions
  2. pp. 277-393
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  1. 15. Pursuits of Hapa-ness: Kip Fulbeck’s Boyhood among Ghosts
  2. pp. 279-296
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  1. 16. Cinematic Solutions to the Truancy Trend among Japanese Boys
  2. pp. 297-315
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  1. 17. L.I.E., The Believer, and the Sexuality of the Jewish Boy
  2. pp. 316-332
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  1. 18. The Feminization and Victimization of the African American Athlete in Boyz N the Hood, Cooley High, and Cornbread, Earl and Me
  2. pp. 333-349
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  1. 19. Bombay Boys: Dissolving the Male Child in Popular Hindi Cinema
  2. pp. 350-376
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  1. 20. Jerkus Interruptus: The Terrible Trials of Masturbating Boys in Recent Hollywood Cinema
  2. pp. 377-393
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  1. Contributors
  2. pp. 395-399
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  1. Index
  2. pp. 401-421
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  1. Back Cover
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