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Bill Osgerby - American Pie: The Anatomy of Vulgar Teen Comedy (Cinema and Youth Cultures)

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American Pie: The Anatomy of Vulgar Teen Comedy (Cinema and Youth Cultures): summary, description and annotation

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American Pie represents the most commercially successful example of the vulgar teen comedy, and this book analyses the films development, audience-appeal and cultural significance.

American Pie (1999) is a film that exemplifies that most disparaged of movie genres the vulgar teen comedy. Largely aimed at young audiences, the vulgar teen comedy is characterised by a brazenly over-the-top humour rooted in the salacious, the scatological and the squirmingly tasteless.

In this book, consideration is given to the relationship between American Pies success and broad shifts within both the youth market and the film business. Attention is also given to the films representations of youth, gender and sexuality, together with the distinctive character of its comedy and the enduring place of such humour in contemporary popular culture. While chiefly focusing on the original American Pie movie, the book also considers the development of the franchise, with discussion of the movies three sequels and four direct-to-DVD releases. The book also charts the history, nature and appeal of vulgar teen comedy as a whole, providing the first concerted analysis of this generally overlooked category of youth film.

Clear, concise and comprehensive, the book is ideal for students, scholars and general readership worldwide.

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American Pie American Pie represents the most commercially successful example - photo 1
American Pie
American Pie represents the most commercially successful example of the vulgar teen comedy, and this book analyses the films development, audience-appeal and cultural significance.
American Pie (1999) is a film that exemplifies the most disparaged of movie genres the vulgar teen comedy. Largely aimed at young audiences, the vulgar teen comedy is characterised by a brazenly over-the-top humour rooted in the salacious, the scatological and the squirmingly tasteless.
In this book, consideration is given to the relationship between American Pies success and broad shifts within both the youth market and the film business. Attention is also given to the films representations of youth, gender and sexuality, together with the distinctive character of its comedy and the enduring place of such humour in contemporary popular culture. While chiefly focusing on the original American Pie movie, the book also considers the development of the franchise, with discussion of the movies three sequels and four direct-to-DVD releases. The book also charts the history, nature and appeal of vulgar teen comedy as a whole, providing the first concerted analysis of this generally overlooked category of youth film.
Clear, concise and comprehensive, the book is ideal for students, scholars and general readership worldwide.
Bill Osgerby is Emeritus Professor of Media, Culture and Communication at London Metropolitan University. He has published widely on twentieth-century British and American cultural history. His books include Youth in Britain Since 1945 and Youth Media.
Cinema and Youth Cultures
Series Editors: Sin Lincoln & Yannis Tzioumakis
Cinema and Youth Cultures engages with well-known youth films from American cinema as well as the cinemas of other countries. Using a variety of methodological and critical approaches the series volumes provide informed accounts of how young people have been represented in film, while also exploring the ways in which young people engage with films made for and about them. In doing this, the Cinema and Youth Cultures series contributes to important and long-standing debates about youth cultures, how these are mobilized and articulated in influential film texts and the impact that these texts have had on popular culture at large.
The Virgin Suicides
Justin Wyatt
The Breakfast Club
Elissa H. Nelson
The Freshman
Christina G. Petersen
Y Tu Mam Tambin
Scott L. Baugh
Halloween
Mark Bernard
American Pie
Bill Osgerby
For more information about this series, please visit: https://www.routledge.com/Cinema-and-Youth-Cultures/book-series/CYC
First published 2020
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
52 Vanderbilt Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
2020 Bill Osgerby
The right of Bill Osgerby to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
Names: Osgerby, Bill, author.
Title: American pie: the anatomy of vulgar teen comedy / Bill Osgerby.
Description: London; New York: Routledge, 2020. |
Series: Cinema and youth cultures | Includes bibliographical references and index.
Identifiers: LCCN 2019029779 (print) | LCCN 2019029780 (ebook) |
ISBN 9781138681941 (hardback) | ISBN 9781315545479 (ebook)
Subjects: LCSH: American pie (Motion picture) |
Teenagers in motion pictures. | Vulgarity in motion pictures |
Teen filmsUnited StatesHistory and criticism. |
Comedy filmsUnited StatesHistory and criticism.
Classification: LCC PN1997.A34325 O84 2020 (print) | LCC
PN1997.A34325 (ebook) | DDC 791.43/72dc23
LC record available at https://lccn.loc.gov/2019029779
LC ebook record available at https://lccn.loc.gov/2019029780
ISBN: 978-1-138-68194-1 (hbk)
ISBN: 978-1-315-54547-9 (ebk)
Typeset in Times New Roman
by codeMantra
Despite the high visibility of youth films in the global media marketplace, especially since the 1980s when Conglomerate Hollywood realized that such films were not only strong box office performers but also the starting point for ancillary sales in other media markets as well as for franchise building, academic studies that focused specifically on such films were slow to materialize. Arguably the most important factor behind academias reluctance to engage with youth films was a (then) widespread perception within the Film and Media Studies communities that such films held little cultural value and significance, and therefore were not worthy of serious scholarly research and examination. Just like the young subjects they represented, whose interests and cultural practices have been routinely deemed transitional and transitory, so were the films that represented them perceived as fleeting and easily digestible, destined to be forgotten quickly, as soon as the next youth film arrived in cinema screens a week later.
Under these circumstances, and despite a small number of pioneering studies in the 1980s and early 1990s, the field of youth film studies did not really start blossoming and attracting significant scholarly attention until the 2000s and in combination with similar developments in cognate areas such as girl studies. However, because of the paucity of material in the previous decades, the majority of these new studies in the 2000s focused primarily on charting the field and therefore steered clear of long, in-depth examinations of youth films or was exemplified by edited collections that chose particular films to highlight certain issues to the detriment of others. In other words, despite providing often wonderfully rich accounts of youth cultures as these have been captured by key films, these studies could not have possibly dedicated sufficient space to engage with more than just a few key aspects of youth films.
In more recent (post-2010) years a number of academic studies started delimiting their focus and therefore providing more space for in-depth examinations of key types of youth films, such as slasher films and biker films or examining youth films in particular historical periods. From that point on, it was a matter of time for the first publications that focused exclusively on key youth films from a number of perspectives to appear (
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