This volume explores how television has been a significant conduit for the changing ideas about children and childhood in the United States. Each chapter connects relevant events, attitudes, or anxieties in American culture to an analysis of children or childhood in select American television programs. The essays in this collection explore historical intersections of the family with expectations of childhood, particularly innocence, economic and material conditions, and emerging political and social realities that, at times, present unique challenges to America's children and the collective expectation of what childhood should be.

This volume explores how television has been a significant conduit for the public consumption of changing ideas about children, childhood, and national identity, via a critical examination of programs that prominently feature children and youth in international television The chapters connect relevant cultural attitudes within their respective countries to an analysis of children and/or childhood in international children's programming The collection addresses how international children's programming in global and local context informs changing ideas about children and childhood, including notions of individual and citizen identity formation Offering new insights into childhood and television studies, this book will be of great interest to graduate students, scholars, and professionals in television studies, childhood studies, media studies, cultural studies, popular culture studies, and American studies

This volume explores how television has been a significant conduit for the changing ideas about children and childhood in the United States. Each chapter connects relevant events, attitudes, or anxieties in American culture to an analysis of children or childhood in select American television programs. The essays in this collection explore historical intersections of the family with expectations of childhood, particularly innocence, economic and material conditions, and emerging political and social realities that, at times, present unique challenges to America's children and the collective expectation of what childhood should be.

Directed by Richard Donner and written by David Seltzer, The Omen (1976) is perhaps the best in the devil-child cycle of movies that followed in the wake of Rosemary's Baby and The Exorcist. Released to a highly suggestible public, The Omen became a major commercial success, in no small part due to an elaborate pre-sell campaign that played and preyed on apocalyptic fears and a renewed belief in the Devil and the supernatural. Since polarising critics and religious groups upon its release, The Omen has earned its place in the horror film canon. It's a film that works on different levels, is imbued with nuance, ambiguity and subtext, and is open to opposing interpretations. Reflecting the film's cultural impact and legacy, the name 'Damien' has since become a pop culture byword for an evil child. Adrian Schober's Devil's Advocate entry covers the genesis, authorship, production history, marketing and reception of The Omen, before going on to examine the overarching theme of paranoia that drives the narrative: paranoia about the 'end times'; paranoia about government and conspiracy; paranoia about child rearing (especially, if one strips away the layer of Satanism); and paranoia about imagined threats to the right-wing Establishment from liberal and post-countercultural forces of the 1970s.

Directed by Richard Donner and written by David Seltzer, The Omen (1976) is perhaps the best in the devil-child cycle of movies that followed in the wake of Rosemary's Baby and The Exorcist. Released to a highly suggestible public, The Omen became a major commercial success, in no small part due to an elaborate pre-sell campaign that played and preyed on apocalyptic fears and a renewed belief in the Devil and the supernatural. Since polarising critics and religious groups upon its release, The Omen has earned its place in the horror film canon. It's a film that works on different levels, is imbued with nuance, ambiguity and subtext, and is open to opposing interpretations. Reflecting the film's cultural impact and legacy, the name 'Damien' has since become a pop culture byword for an evil child. Adrian Schober's Devil's Advocate entry covers the genesis, authorship, production history, marketing and reception of The Omen, before going on to examine the overarching theme of paranoia that drives the narrative: paranoia about the 'end times'; paranoia about government and conspiracy; paranoia about child rearing (especially, if one strips away the layer of Satanism); and paranoia about imagined threats to the right-wing Establishment from liberal and post-countercultural forces of the 1970s.

To say that children matter in Steven Spielberg's films is an understatement. Think of the possessed Stevie in Something Evil (TV), Baby Langston in The Sugarland Express, the alien-abducted Barry in Close Encounters, Elliott and his unearthly alter-ego in E.T, the war-damaged Jim in Empire of the Sun, the little girl in the red coat in Schindler's List, the mecha child in A.I., the kidnapped boy in Minority Report, and the eponymous boy hero of The Adventures of Tintin. (There are many other instances across his oeuvre). Contradicting his reputation as a purveyor of 'popcorn' entertainment, Spielberg's vision of children/childhood is complex. Discerning critics have begun to note its darker underpinnings, increasingly fraught with tensions, conflicts and anxieties. But, while childhood is Spielberg's principal source of inspiration, the topic has never been the focus of a dedicated collection of essays. The essays in Children in the Films of Steven Spielberg therefore seek to address childhood in the full spectrum of Spielberg's cinema. Fittingly, the scholars represented here draw on a range of theoretical frameworks and disciplines-cinema studies, literary studies, audience reception, critical race theory, psychoanalysis, sociology, and more. This is an important book for not only scholars but teachers and students of Spielberg's work, and for any serious fan of the director and his career.

To say that children matter in Steven Spielberg's films is an understatement. Think of the possessed Stevie in Something Evil (TV), Baby Langston in The Sugarland Express, the alien-abducted Barry in Close Encounters, Elliott and his unearthly alter-ego in E.T, the war-damaged Jim in Empire of the Sun, the little girl in the red coat in Schindler's List, the mecha child in A.I., the kidnapped boy in Minority Report, and the eponymous boy hero of The Adventures of Tintin. (There are many other instances across his oeuvre). Contradicting his reputation as a purveyor of 'popcorn' entertainment, Spielberg's vision of children/childhood is complex. Discerning critics have begun to note its darker underpinnings, increasingly fraught with tensions, conflicts and anxieties. But, while childhood is Spielberg's principal source of inspiration, the topic has never been the focus of a dedicated collection of essays. The essays in Children in the Films of Steven Spielberg therefore seek to address childhood in the full spectrum of Spielberg's cinema. Fittingly, the scholars represented here draw on a range of theoretical frameworks and disciplines-cinema studies, literary studies, audience reception, critical race theory, psychoanalysis, sociology, and more. This is an important book for not only scholars but teachers and students of Spielberg's work, and for any serious fan of the director and his career.

Children have been a part of the cinematic landscape since the silent film era, yet children are rarely a part of the theoretical landscape of film analysis. Lost and Othered Children in Contemporary Cinema, edited by Debbie C. Olson and Andrew Scahill, seeks to remedy that oversight. Throughout the over one-hundred year history of cinema, the image of the child has been inextricably bound to filmic storytelling and has been equally bound to notions of romantic innocence and purity. This collection reveals, however, that there is a body of work that provides a counter note of darkness to the traditional portraits of sweetness and light. Particularly since the mid-twentieth century, there are a growing number of cinematic works that depict childhood has as a site of knowingness, despair, sexuality, death, and madness. Lost and Othered Children in Contemporary Cinema challenges notions of the innocent child through an exploration of the dark side of childhood in contemporary cinema. The contributors to this multidisciplinary study offer a global perspective that explores the multiple conditions of marginalized childhood as cinematically imagined within political, geographical, sociological, and cultural contexts.

Children have been a part of the cinematic landscape since the silent film era, yet children are rarely a part of the theoretical landscape of film analysis. Lost and Othered Children in Contemporary Cinema, edited by Debbie C. Olson and Andrew Scahill, seeks to remedy that oversight. Throughout the over one-hundred year history of cinema, the image of the child has been inextricably bound to filmic storytelling and has been equally bound to notions of romantic innocence and purity. This collection reveals, however, that there is a body of work that provides a counter note of darkness to the traditional portraits of sweetness and light. Particularly since the mid-twentieth century, there are a growing number of cinematic works that depict childhood has as a site of knowingness, despair, sexuality, death, and madness. Lost and Othered Children in Contemporary Cinema challenges notions of the innocent child through an exploration of the dark side of childhood in contemporary cinema. The contributors to this multidisciplinary study offer a global perspective that explores the multiple conditions of marginalized childhood as cinematically imagined within political, geographical, sociological, and cultural contexts.