This book explores cultural conceptions of the child and the cinematic absence of black children from contemporary Hollywood film. Debbie Olson argues that within the discourse of children's studies and film scholarship in relation to the conception of "the child," there is often little to no distinction among children by race-the "child" is most often discussed as a universal entity, as the embodiment of all things not adult, not (sexually) corrupt. Discussions about children of color among scholars often take place within contexts such as crime, drugs, urbanization, poverty, or lack of education that tend to reinforce historically stereotypical beliefs about African Americans. Olson looks at historical conceptions of childhood within scholarly discourse, the child character in popular film and what space the black child (both African and African American) occupies within that ideal.

Children and youth perform both innocence and knowingness within Hitchcock's complex cinematic texts. Though the child often plays a small part, their significance - symbolically, theoretically, and philosophically - offers a unique opportunity to illuminate and interrogate the child presence within the cinematic complexity of Hitchcock's films.

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 unique and timely collection examines childhood and the child character throughout Stephen King's works, from his early novels and short stories, through film adaptations, to his most recent publications. King's use of child characters within the framework of horror (or of horrific childhood) raises questions about adult expectations of children, childhood, the American family, child agency, and the nature of fear and terror for (or by) children. The ways in which King presents, complicates, challenges, or terrorizes children and notions of childhood provide a unique lens through which to examine American culture, including both adult and social anxieties about children and childhood across the decades of King's works.

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.

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.

This collection seeks to broaden the discussion of the child image by close analysis of the child and childhood as depicted in non-Western cinemas. Each essay offers a counter-narrative to Western notions of childhood by looking critically at alternative visions of childhood that does not privilege a Western ideal. Rather, this collection seeks to broaden our ideas about children, childhood, and the child's place in the global community. This collection features a wide variety of contributors from around the world who offer compelling analyses of non-Western, non-Hollywood films starring children.

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.

The child in many post-apocalyptic films occupies a unique space within the narrative, a space that oscillates between death and destruction, faith and hope. The Child in Post-Apocalyptic Cinema interrogates notions of the child as a symbol of futurity and also loss. By exploring the ways children function discursively within a dystopian framework we may better understand how and why traditional notions of childhood are repeatedly tethered to sites of adult conflict and disaster, a connection that often functions to reaffirm the "rightness" of past systems of social order. This collection features critical articles that explore the role of the child character in post-apocalyptic cinema, including classic, recent, and international films, approached from a variety of theoretical, methodological, and cultural perspectives.

This book explores cultural conceptions of the child and the cinematic absence of black children from contemporary Hollywood film. Debbie Olson argues that within the discourse of children's studies and film scholarship in relation to the conception of "the child," there is often little to no distinction among children by race-the "child" is most often discussed as a universal entity, as the embodiment of all things not adult, not (sexually) corrupt. Discussions about children of color among scholars often take place within contexts such as crime, drugs, urbanization, poverty, or lack of education that tend to reinforce historically stereotypical beliefs about African Americans. Olson looks at historical conceptions of childhood within scholarly discourse, the child character in popular film and what space the black child (both African and African American) occupies within that ideal.

Children and youth perform both innocence and knowingness within Hitchcock's complex cinematic texts. Though the child often plays a small part, their significance - symbolically, theoretically, and philosophically - offers a unique opportunity to illuminate and interrogate the child presence within the cinematic complexity of Hitchcock's films.