Session Five Family Films Department of Film and Audiovisual Culture Dr. Richard Nowell ¨14:20 – 15:55 ¨Finding Nemo (2003) ¨ ¨15:55 – 16:10 ¨Break ¨ ¨16:10 – 17:20 ¨Family Films finding_nemo.jpg charlie_and_the_chocolate_factory_ver2.jpg three_men_and_a_baby.jpg look_whos_talking.jpg goonies.jpg e_t_the_extra_terrestrial_ver2.jpg ice_age_continental_drift_ver10.jpg mrs_doubtfire_ver3.jpg chronicles_of_narnia_the_lion_the_witch_and_the_wardrobe.jpg muppets_ver4.jpg lion_king_ver5.jpg incredibles_ver5.jpg ¨Defining the Family Film ¨ ¨The rise to prominence ¨of the Family Film ¨ ¨A poetics of the family film: Modes of Address & Framing devices finding_nemo.jpg charlie_and_the_chocolate_factory_ver2.jpg ¨How does Finding Nemo address the interests and the concerns of children? ¨ ¨How does Finding Nemo address the interests and concerns of parents? ¨ ¨How does Finding Nemo function as a form of family therapy? ¨Defining the Family Film ¨ ¨The rise to prominence ¨of the Family Film ¨ ¨A poetics of the family film: Modes of Address & Framing devices finding_nemo.jpg charlie_and_the_chocolate_factory_ver2.jpg ¨It is often assumed that almost without exception produces films which blindly promote the nuclear family ¨ ¨It is also usually suggested that this thematic constant is the product of an involuntary institutional conservatism ¨ ¨However, we can see Hollywood’s family films as the product of savvy audience targeting and self-promotion ¨ ¨What is more, these films often approach the family as a site of turmoil that is itself in need of care and attention ¨ ¨ ¨Film categories are often difficult to define ¨ ¨This is because they are a product of hybridity during assembly, promotion, and reception ¨ ¨Industry-pros and -watchers differ on what a family film is and has been ¨ ¨These films are sometimes conflated with mega-budget fare that must be child-friendly ¨ ¨Bur, this confuses mass-audience accessibility and the prioritization of key groups ¨ ¨ ¨ ¨ jaws.jpg finding_nemo.jpg ¨1. Not all blockbusters are family films ¨ ¨2. Not all family-friendly films are family films ¨ ¨3. Not all family-centered films are family films ¨ ¨Family Films can be seen as: ¨ ¨A. Films made for, and marketed to, families above and beyond other groups … by ¨ ¨B. addressing spectators as caregivers or as children (regardless of biological age) dark_knight_rises.jpg kramer_vs_kramer_ver2.jpg titanic_ver2.jpg midnight_in_paris.jpg ¨Allen argues that family films became more important in the late 1980s and early 1990s ¨ ¨However, Kramer rightly spotlights key examples from the 1970s and early 1980s ¨ ¨Noel Brown rightly argues that they are a foundation of 21st century Hollywood ¨ ¨We should note that varied rosters ensures family films were always released ¨ ¨Late 1980s/early 1990s saw Hollywood’s institutionalization of these films ¨ ¨ ¨ home_alone_ver1.jpg harry_potter_and_the_sorcerers_stone_ver5.jpg return_of_the_jedi_ver2.jpg up_ver2.jpg ¨ ¨What conditions does Allen suggest led to the rise to prominence of the family film in the late 80s and early 90s? ¨Demographic: Large target market – Baby-boomers spawn echo boom; youth declines ¨ ¨Technology: Increased Accessibility – VCR facilitates domestic consumption ¨ ¨Political: Positive image – Solution to right-wing charges of making immoral fare ¨ ¨Economic: Facilitates Synergy – Child consumption of media, toys, snacks ¨ ¨[Market: Indicators of appeal in late 80s – e.g. Three Men and a Baby (1987)] simpsons.jpg flintstones.jpg ¨ ¨ ¨How does Kramer suggest Family Films address children? ¨ ¨How does he suggest they address adults? ¨The double-double address of the family film ¨ ¨Child: ¨A) consider their current emotional, social, and psychological lives, and B) challenges of parenting ¨ ¨Adult: ¨A) consider what it must be like a child, and B) what it was like to be a child ¨ ¨Thus … Family: ¨Consider multi-generation coexistence, by fostering understanding across generational lines ¨ e-t--1982-45-g.jpg e..iot.jpg et halloween yoda cameo.JPG ¨ ¨What does Allen suggest are the general ways Family Films tend to take positions on their family-related themes? ¨Allen suggests Family Film makers tend to be careful about how they deal with family life ¨ ¨Indeterminacy: Avoid taking overly strident positions on issues relating to the family ¨ ¨Ambivalence: Leave issues unresolved to enable avoid being overly dogmatic ¨ ¨Why? ¨This is an emotionally sensitive topic – a source of comfort and heartbreak to many ¨ ¨But, these “approaches” cam be unavoidable ¨ ¨ et elliot.jpg et-family-1024x552.jpg ¨How does Charlie and the Chocolate Factory address the interests and concerns of children? ¨ ¨How does Charlie and the Chocolate Factory address the interests and concerns of parents? ¨ ¨How does Charlie and the Chocolate Factory function as a form of family therapy? ¨ ¨Understanding Childhood ¨Vulnerability, impressionability, wonder, potential dis-likability; pressures; ¨ ¨Understanding Adult Strains ¨Poverty; unemployment; stress; repression/trauma ¨ ¨Understanding Parenting ¨Laxity begets: self-indulgent; entitled; delinquent; hyper-competitive children ¨ ¨Self-reflexivity ¨Bonding through storytelling; Factory (Hollywood) facilitates intergenerational understanding charlie 3.jpg charlie 4.png charlie 2.jpg charlie chocolate factory.jpg ¨How does Finding Nemo address the interests and concerns of children? ¨ ¨How does Finding Nemo address the interests and concerns of parents? ¨ ¨How does Finding Nemo function as a form of family therapy? ¨ ¨Behind veneer: drama of loss, fear, and coping ¨ ¨Bereavement ¨Violence and loss begets trauma ¨ ¨Control and independence ¨Understanding, and resisting strict parenting ¨ ¨Rebuilding and relearning ¨Challenges of remarriage and step-parenting ¨ ¨Real-life Social Functions ¨Thematizes therapeutic potential of storytelling, positing itself as glue binding families together ¨ ¨ ¨ ¨ Nemo_Marlin.jpg nemo dad.jpg findingnemoturtles_1767848i.jpg ¨ ¨ ¨Finding Nemo Trailer ¨https://www.youtube.com/watch?v=wZdpNglLbt8 ¨ ¨ ¨Demographic, technological, and corporate developments led Family Films to become industrially important in late 1980s and early 1990s ¨ ¨Ongoing blockbuster success have ensured they remain a cornerstone of Hollywood output ever since ¨ ¨These films thematize the child-centered family as a way of capturing and being important to a multi-generational cohabiting audience ¨ ¨To avoid alienating disfunctional or broken families, the films tend to avoid taking too strident positions on the topic ¨ ¨Trade in nostalgia, and encourage empathy and intergenerational understanding: the act of consuming the films is central to this process ¨ ¨ ¨