John Hughes: Reaching New Levels of Achievement in Hollywood

flush toilet Hughes Reaching New Levels of Achievement in Hollywood David Bordwell (2006) firmly believes that when faced with the challenge of creating, people ask themselves how they hind end raise the premises to new levels of achievement, or revive a disreputable genre. He argues that people challenge themselves with the question How can I make daily connections to a smashing(p)er extent felicitous, twists more unexpected, compositors case psychology more involving, excitement more intense, motifs more tightly woven? How can I display my consume virtuosity? Following this quote and my own research, Ive come to believe that magic trick Hughes is a very significant example of a holdmaker to create a whole new level of achievement in Hollywood. As the director and writer of several well- sack outn teen delineations such(prenominal) as 16 Candles (1984), The breakfast Club (1985), and Ferris Buellers Day Off (1986), from the mid-1980s Hughes has been prise as one of the mo re influential figures of Hollywood for redefining and leaving a long-lasting impression on movies with a teen demographic.Through deeply cogitate on new themes and motifs such as hearty hierarchy, he undeniably changed the teen movie genre forever by creating sympathy and instinct for adolescent characters. In the 1980s, teenagers attitudes were changing, and many theorists believe medicinal drug television was to blame. Shary (2005) states that with celebrity appearances, commercials, and a brand-new, fast-paced style, MTV became the court where youthfulness tillage was told what was cool.He withal believes that the political changes in America to a fault severely influenced teenagers perspectives, especially after the elevator c befree attitudes of Carters presidency turned into the dictatorial dictates of Regans decade. He states that The new Republican ethos may afford won over voters, further at the same time its naive on the dot say no approach to serious adoles cent choices gave youth a renewed sense of irritation for adult authority. To express their views on Americas politics, the youth became eager to experiment with sex and drugs, and Hollywood felt the effect of the youths impact and took note.At this time period, Hollywood was experiencing a transition of sorts, between what was labelled as the Hollywood reincarnation (Schatz,1993), into a more contemporary style of cinema which theorist Geoff queer (2002) labelled as New Hollywood Version 2. To witness the breakthrough of tin Hughes movies, we must understand that before his directorial debut of Sixteen Candles, films of the 1980s were not sympathetic to teens, and the majority f said films came in the form of slasher movies, or sex-comedies, where audiences would watch teenagers be embarrassed and hurt in various different forms. In this period of transition, these movies would reap in profits, but did not focus on character psychology or emphasise performance the guidance ea rlier examples did. In this transition period, Hughes managed, in nearly form, to stay true to the earlier, character-based films, but still managed to produce a self-made profit, without any high-scale production that would turn his films into the newer, blockbuster style pictures.He often worked on more than one movie at once, and released them very close together, in a way that provided more coin for the studios, as his reputation as a director became more well-known and his movies became more successful. Its burning(prenominal) to note also, that his films were released at a time where VCR and home videos were congruous more and more popular, which meant that young adults could watch his films over and over at home, and create a personal relationship with the characters.As a director, Hughes knew exactly what he wanted to show teenagers as important, intelligent, and not the sex-crazed and shallow adolescents that earlier movies pictured them to be. Gora (2010) proposes tha t What would set Hughes apart, in an age when other filmmakers were quick to portray teens as vapid, horny, pimpled caricatures, was that he was wise enough to present the teenage go across with the pain, seriousness, and melodrama that so often imbues age. As proven by films such as Losin It (1983) and niggling Darlings (1980), many movies in the early 1980s revolved only around the quest of teens to lose their virginity (Shary, 2005). Although Hughes has focused on the theme of sex, it is just one of many different themes and motifs in his films, including the ever-popular idea of social hierarchy, or parental closet. Sixteen Candles, centres around the story of sixteen-year old surface-to-air missile (portrayed by molly Ringwald), whose birthday is forgotten by her family in favour of her aged sisters wedding the next day.This film includes the only all nude scene of any of Hughes movies, and was only included due to pressure from the network, who insisted that it was neede d in order to compete with the other teen films on the market. The scene itself is not remotely sexual however, and exists only to emphasise Sams self-consciousness, when she and her best friend spy on the girlfriend of her biggest chide whilst in the shower after gym. It does include many of the cliches, such as the virgin esperate to have sex, the thick teen driving an expensive car which will undoubtedly be wrecked mosthow, or a manse party where the house is destroyed, but unlike other teen films, it encourages us to laugh with the characters rather than at them. To portray the idea of social hierarchy, where some sort of clique is better than another, Hughes often uses a form of what Roz Kaveney (2006) entitles the anthropology barb. Kaveney states that such shots establish a number of social groups among high shoal students and pan between them to demonstrate social divisions.This shot can be effective because despite the fact that we will only really know a few select c haracters, it is able to establish the kind of surroundings they are living in. An example of said shot is used in Sixteen Candles, introducing the geeks at the dance. Although Hughes did not invent the shot, many films have reproduced the way he used it, such as sloshed Girls (2004), where the character Janice introduces Cady to the social cliques in the cafeteria.As well as the anthropology shot, Hughes also used many low-angle shots in his films to connote the sense of inadequacy teenagers feel when looking at the world. This is also used often when the characters talk to adults, and is especially prominent in The Breakfast Club when the characters talk to the principal. This shows the control Principal Vernon has over the kids, and enforces the belief that because they are young, they arent as powerful. Hughes, as a director, paid a great deal of attention to setting social background in his films.The gap of The Breakfast Club, the story of five teens of different cliques who must spend their Saturday in detention, uses single shots to give us a feel for each character. Claire, for example, the common rich and popular princess is introduced with the shot of a prom queen poster, although we harbourt formally met her character yet. Similarly, John curved shape, the criminal problem-child, is introduced using a shot of a vandalized locker with a noose attached.The film officially stretchs with a glass-shattering transition to an introductory shot of the high school, which could be look at as foreshadowing eventually, the characters defences are broken down, and they open up to each other to become friends. The writing of Hughes films brought a great deal of attention to motifs that hadnt been paid much attention before, such as the idea of the child acting like the parent. A prime of life example of this is Sixteen Candles, where Sams mother apologises to her for missing her birthday. In this scene, Sam, the teenager, is the one to comfort her emotio nal mother, and say Its okay, these things happen.Themes also explored were the ideas parental pressure, such as The Breakfast Club, where geeky Brian contemplated suicide because he feared his parents would be disappointed in him for failing his first class, or the theme of money and social classes, which Hughes addressed by pairing Claire and Bender together the rich girl with the poor boy. He also brings a new illumination to female sexuality, which the character of Alison addresses directly If you say you havent youre a prude. And if you say you have, youre a slut. Its a trap. visual perception such touching scenes on screen empowers teens, and helps the audience sympathize with their experiences. verbalise themes have since been addressed in many teen movies to this date, such as Clueless (1995) or open A (2010). The impact that John Hughes has left hand on Hollywood is undoubtable and everlasting. Despite the fact that it has been over twenty-five eld since The Breakfast C lub was released, for example, countless references are still made to the film in todays pop furyure, including homages in NBCs cult TV show Community and a mention in CWs Gossip Girl (were the non-judging Breakfast Club).Matt Groening, creator of The Simpsons and Futurama, is also a huge fan of the film. Bart Simpsons famous catch phrase eat my shorts is a direct reference to John Benders line, which he says defiantly to Principal Vernon. Judd Nelsons portrayal of the character was also the inspiration for the name of Futuramas temperamental robot Bender. The movie has also been spoofed in many American advertisements, including the 2008 commercial for chain attire store JCPenney.The back-to-school line was heavily influenced by The Breakfast Club, and featured teenagers dance in a library to the most popular song from the soundtrack, move intot You Forget About Me. Not Another Teen word picture (2001) was a complete parody of the majority of Hughes material, and featured a ca meo from Molly Ringwald as an adult who disapproved of teenagers. To this day, Hughes is continually paid homage to, and because of the way he changed the portrayal of teenagers, people will continue to do so for a long time. (Word count 1,643) References & Bibliography Driscoll, C (2011).Teen Film A Critical Introduction. UK Berg. Easy A, 2010. DVD Will Gluck, United States Sony Pictures. Clueless, 1995. DVD Amy Heckerling, United States Universal Pictures. Ferris Buellers Day Off, 1986. DVD John Hughes, United States prevalent Pictures Gora, S (2010). You Couldnt Ignore Me If You Tried The panic Pack, John Hughes, and their Impact on a Generation. New York Crown print Group Kaveney, R (2006). Teen Dreams Reading Teen Film and goggle box from Heathers to Veronica Mars. London I. B. Tauris King, G (2002). New Hollywood Cinema An Introduction.LondonI. B. Tauris Little Darlings, 1980. DVD Ronald F. Maxwell, United States Stephen Friedman/Kings Road Productions Losin It, 1983. DVD Curtis Hanson, United States Tiberius Film Productions Mean Girls, 2004. DVD Mark Waters, United States Paramount Pictures Pretty in Pink, 1986. DVD Howard Deutch, United States Paramount Pictures Shary, T (2005). Teen Movies American Youth on Screen. London wallflower Press Sixteen Candles, 1984. DVD John Hughes, United States Universal Pictures The Breakfast Club, 1985. DVD John Hughes, United States Universal Pictures