What is, through the eyes of Hollywood, a teenager? Within this arbitrary place, teenage movies unfairly label their characters "identities" such as absent minded jocks, affluent popular girls, academically obsessed students and rebellious wrongdoers. In this way, John Hughes makes creative use of these pre-existing labels derived from conventional film through The Breakfast Club. At first glance, it is purposefully intended that the audience conceive it as another film of teenage stereotyping. In fact, it has been widely renowned for bringing to light the inevitable social hierarchy that exists among those 13-19. Wikipedia itself falls into this popular misconception, as it states, "The Breakfast Club...proved to be an effective short cut to character introduction with the audience who identified and recognized them as stereotypes. " In this way, it is shown that viewers solely identified these characters as stereotypes, as opposed to delving into their deeper personalities. Nevertheless, the true message of Hughes' work is that these stereotypes are, in all actuality, invalid. This notion is exemplified through the characters of John Bender, Claire Standish, Brian Johnson, and Andrew Clark. The film, The Breakfast Club directed by John Hughes, creatively departs from the stereotypical teenage angst film by redefining teenagers as having deeper reasons behind Hollywood's negative labeling of them
If this is intended to be the introduction to a paper, it's far too long. It contains lots of information that belongs in the body of the paper.
~~>Where's the rest of the paper ... or at least the outline?
~~>What ONE sentence is your thesis statement?
What is, through the eyes of Hollywood, a teenager? Within this arbitrary place, teenage movies unfairly label their characters "identities" such as absent minded jocks, affluent popular girls, academically obsessed students and rebellious wrongdoers. In this way, John Hughes makes creative use of these pre-existing labels derived from conventional teenage angst film through The Breakfast Club. This notion is exemplified through the characters of John Bender, Claire Standish, Brian Johnson, and Andrew Clark. The film, The Breakfast Club directed by John Hughes, creatively departs from the stereotypical teenage angst film by redefining teenagers as having deeper reasons behind Hollywood's negative labeling of them.
Genre of Focus: The Teenage Angst Film
Within teenage angst films, the "most widely used conventions are the stereotypes and social groups," thereby meeting "basic stereotypes," such as the "Nerd,' "Jock," and "Cheerleader." Within this world of cinematic lies, teens are represented, for instance, through shallow popular girls such as regina George, who prays on those outside her social clique for the mere gratification of bullying others. Even the cast of Grease as a whole is stereotyped into various cliques and labeled accordingly, although they do not hold inner reasons or meanings behind their reckless behavior .
At first glance, it is purposefully intended that the audience conceive The Breakfast Club as just another film of teenage stereotyping. In fact, it has been widely renowned for blatantly showing the inevitable social hierarchy that exists among those 13-19. Wikipedia itself falls into this prevalent misconception, as it states, "The Breakfast Club...proved to be an effective short cut to character introduction with the audience who identified and recognized them as stereotypes. " In this way, it is shown that viewers solely identified these characters as stereotypes, as opposed to delving into their deeper personalities. Nevertheless, the true message of Hughes' work is that these stereotypes are, in all actuality, invalid.
Hughes' Creative Use of this Genre
Firstly, the character John Bender illustrates the deeper reasons behind teen stereotypes in Hollywood. Bender displays reckless and immature behavior, as he exhibits an unbending resolve as well as a significant lack of respect for the supervising authority, Mr. Vernon. In fact, this disrespect is depicted in a telling scene where Bender disobediently engages in incessant back talk with his teacher:
Richard Vernon: You just bought yourself another Saturday.
John Bender: Ooh, I'm crushed.
Richard Vernon: You just bought one more.
John Bender: Well I'm free the Saturday after that. Beyond that, I'm going to have to check my calendar.
Richard Vernon: Good, cause it's going to be filled. We'll keep going. You want another one? Just say the word say it. Instead of going to prison you'll come here. Are you through?
John Bender: No.
Clearly, Bender's stubborn ways as well as his lack of respect for authority, as specifically exemplified in this example, support his rebellious image. Hollywood, and therefore the resulting audience's brainwashed "logic," would dictate that Bender is merely another Danny Zuko from the movie Grease, whose rebellion towards his teachers and fake seclusion towards his love interest, Sandy Olsen, is merely a matter of an immature yearning to fit in with his fellow T-Bird friends. Perhaps, the audience may deem Bender as a Ferris Bueller, whose youthful state of being has inevitably paved the way for his short sided and reckless decision making, of which includes choices such as stealing a 1961 210 GT Ferrari and attempting to erase its mileage by reversing the car. Hughes even creates Bender's physical appearance to resemble that of these similarly raven haired and leather jacket displaying rebels, thereby proving Bender was indeed established as a stereotypically rebellious youth.
Nevertheless, Hughes institutes a metaphorical "paraprosdokian" in film form through John Bender, as he ventures to uncover a seemingly hidden layer of the Hollywood rebel through the deeper reasons behind Bender's behavior, or hurt. John Bender reveals the hazardous environment of his domestic violence ridden house, as well as his troubled relationship with his family. He imitates his father in an anecdotal performance capturing his home life, shouting at his imaginary self, "Stupid, worthless, no good...freeloading [obscenity]. ed, big mouth, know-it-all... jerk." He furtherly assumes his mother's voice, adding, "You forgot ugly, lazy and disrespectful." A sharply and swiftly worded scene between his father and himself follows, as he states as his father, "Shut up...Go fix me a turkey pot pie." Bender spits back, "No dad, what about you?" This results in a seemingly endless back and forth throwing of disrespect and strained hate, until Bender impersonates the act of being punched in the face, thereby insinuating that he lives in domestic violence. This scene shown near the conclusion of the film holds significance, as it meaningfully parallels the similarly back and forth argument between him and Mr. Nelson. Indeed, this example clarifies the truth that The Breakfast Club is not simply another teen film, as it is revealed that the seemingly rude, crude, and authority questioning character of John Bender was not necessarily as such. If one were to view him through the eyes of an empathetic being such that of John Hughes, they would find that there was in fact a deeper hurt from his family that resulted in his bitter actions.
Furthermore, the character of Claire Standish proves how The Breakfast Club separates itself from the stereotypical teenage angst film by redefining teenagers as having deeper reasons behind Hollywood's negative labeling of them. Standish is portrayed as what conventional film would deem as the popular female. She is presented as born to a wealthy family through her diamond jewelry, nestled within the "in crowd" at school through her own saying so, and particularly snobbish, as she refuses to talk to another being who is not deemed as "popular." In this way, she is firstly understood as a shallow, mean, and spoiled being, whose life has been cushioned by a life of ease amongst the throne of the social hierarchy.
Much like fellow characters such as Gretchen Wieners from Mean Girls, as well as Brooke Tippit from the Fab 5: The Texas Cheerleader Scandal, Claire encompasses the stereotypical "popular girl" image. Gretchen Wieners, for instance, is portrayed as coming from a wealthy family who created Toaster Strudel, as well as being a part of the 'in crowd." She even states to her peers, "It's not my fault that I'm so popular," to which Claire Standish would clearly relate, as she blatantly stated, " Do you know how popular I am?...everybody loves me at this school." Further still, Brooke Tippit also embodies this wealthy and socially obsessed image of a popular girl, as she strictly talks to only her secluded group of shallow friends who sneer upon those who they believe as lower than them within the social hierarchy.
Although it may seem as if Standish is merely another copy of these characters, John Hughes creatively negotiate the teenage angst film genre by also presenting how these mean girls bear deeper reasons behind their snobbish and cruel ways, as well as hidden burdens beneath their clean slated lives. Claire's image of enviable perfection is harshly shattered as we come to find that her parents merely shower her with monetary gifts to "use [her] and get back at each other," thereby revealing the hidden turmoil within her household, as well as her painful awareness of this reality. Further still, Claire comes to reveal that her bountiful circle of friends is not as glamorous as it seems, as she consistently feels socially limited into "[going] along with everything [her friends'] say," and that she "hate[s] it." In this way, it seems that her pompous attitude as well as her extravagantly materialistic style is not merely an effect of shallow character, but rather insecurity from feeling that she is not truly wanted and appreciated.
Furthermore, the character of Brian Johnson furtherly supports the notion that John Hughes breaks away from the stereotypical teenage angst film by redefining teenagers as having deeper reasons behind Hollywood's negative labeling of them. Johnson assimilates the form of the conventional "nerd," who immerses his entire being into advancing his intellectual studies and establishing himself as an academic genius. In addition to being enrolled in solely academic clubs such as the Latin Club, Math Club, and Physics Club, he also involves himself in other stereotypical behavior such as displaying himself as meek and insecure. For instance, when Mr. Vernon questions John Bender on "whether or not he would like to return," Johnson scrambles to intersect, although he is quickly shut down. He claims, "Excuse me sir, I can answer that right now. That'd be no." Vernon then rudely shouts, "Sit down, Johnson," to which Brian replies, "Thank you, sir," and submissively sits down.
Clearly, Johnson is purposefully presented as blending seamlessly with the rest of Hollywood's high school nerds, including comparable characters such as Ronald Miller in Can't Buy Me Love as well as Lewis Scolneck in Revenge of the Nerds. Firstly, Miller, who specifically is referred to as a Geek by several of his peers as well as himself, also demonstrates a deferential and insecure character. This leads to him paying a grand of hard earned summer cash in order to hire a popular girl, Cindy Mancini, to be his fake girlfriend and consequently provide him a path into the "in crowd." Similarly, Lewis Scolneck, the protagonist of Revenge of the Nerds, is also explicitly referred to as a "nerd" by his fellow classmates. Much like Johnson, Scolneck is easily oppressed by others due to his lack of self confidence, as he helplessly allows a group of Alpha Beta Jocks to bully and taunt him, and who even come to throw him out of his dorm.
Although Johnson inhibits these characteristics, thereby labeling him as a nerd, it is revealed later in the film that his seemingly perfect academics as well as his socially meek character can only be attributed to the extensive pressure that his family oppresses on him. A failed project in woodshop leads to him receiving a failing grade on the assignment, to which he proclaims, "I can't have an F, and I know my parents can't have it. Even if I aced the rest of the semester, I'm still only a B. And everything's ruined for me." Within this telling scene, it can be reasonably insinuated that it is because of his parents' high expectations for his school work leads to him believing that a single B on his report card would abolish all hopes of a successful future. Further still, this leads to him defining himself as a B, as opposed to believing that he merely received a B, proving the extensive result to which his parents have solely defined him as a brain, as opposed to a human. Further still, Johnson continues to crumble into an emotional heap by confessing his attempted suicide following his unsatisfactory grade, as it seemed to be the most desirable path after he "considered [his options]."
In this way, Hughes establishes not only Johnson, but all academically obsessed teenagers, as requiring further insight in order to understand the deeper reasons behind their actions. Daily, students encounter a difficult set of academic standards implanted before them by parents, future college admission councils, and teachers alike. This creates an ideal of a straight A report card, 2400 SAT, extensive degree of extracurriculars, as well as an overall attainment of intellectual perfection, of which Johnson proves is battering some youth's emotional health into shattered mounds of hopelessness. Therefore, although these "nerds" may be pitifully viewed due to their lack of social interactions and otherwise life outside of school walls, Hughes reveals the bridling locks and chains of hopeful perfection that leads to their behavior.
In these ways, Hughes captures a common element within a genre, of which includes the stereotypical popular girl, academically obsessed nerd, athletically advanced jock, and unruly rebel, and leads the audience into believing that it abides to the common genre, of which is a teenage angst film. Laying on the surface is the illusion that his art is one of average stereotype, until he reveals that there are deeper reasons behind these conventions. Thereby, he creatively utilizes a pre-existing element and recycles it, as he believes that the teenage angst film does not necessarily need to be transformed, but rather better understood. Perhaps society needs a healthy blend of these rebels, princesses, and nerds. Although, it is perhaps time we attempt to also gain deeper insight as to the true beings behind our quick labels, as he portrays through the Breakfast Club an immediate need for society's empathy.
It is of logical inference to presume that the film, the Breakfast Club, serves as a clear representation of the various types of teenagers within society. In all reality, The Breakfast Club directed by John Hughes, breaks away from the stereotypical teenage angst film by redefining teenagers as having deeper reasons behind Hollywood's negative labeling of them. In fact, Hughes' film serves as a microscope and a mirror, validly reflecting how the vast majority views these teenagers, while bringing to light the commonly unseen rationales behind these stereotypes. As Brian Johnson wrote to such a teenage stereotyping representation of society, Mr. Vernon,
" You see us as you want to see us... In the simplest terms and the most convenient definitions. But what we found out is that each one of us is a ...brain...and an athlete.....and a basket case.....a princess......and a criminal..."
In this way, these teenagers are not the mere labels most would presume they are, but rather human beings, who all encompass reasons and stories behind their actions.
Omit this: Genre of Focus: The Teenage Angst Film
Is this your thesis statement?
The film, The Breakfast Club directed by John Hughes, creatively departs from the stereotypical teenage angst film by redefining teenagers as having deeper reasons behind Hollywood's negative labeling of them.
deeper ... than what?
Good job cutting the intro down to a better length.
I think the whole paper is too wordy, but you do prove your point ... that is, IF that's your thesis statement I put in italics above.
Go through and cut out wordiness, and you should be fine.
http://grammar.ccc.commnet.edu/grammar/concise.htm
Through the eyes of Hollywood, a teenager is often portrayed using various stereotypes and labels. These labels include the absent-minded jock, the affluent popular girl, the academically obsessed student, and the rebellious wrongdoer. These stereotypes have been widely used in teenage movies to categorize and define the characters within them. One notable example is the movie "The Breakfast Club," directed by John Hughes.
"The Breakfast Club" purposefully presents itself as a film that initially seems to perpetuate these teenage stereotypes. It has gained recognition for shedding light on the social hierarchy that exists among teenagers aged 13 to 19. Even Wikipedia contributes to this misconception by describing the movie as an effective way to introduce characters as stereotypes, assuming that the audience identifies and recognizes them as such.
However, the true message of John Hughes' work lies in challenging the validity of these stereotypes. In "The Breakfast Club," the characters of John Bender, Claire Standish, Brian Johnson, and Andrew Clark go beyond their initial stereotypical portrayals. They reveal deeper layers and complexities, proving that these stereotypes do not accurately capture their true personalities and motivations.
Therefore, "The Breakfast Club" creatively departs from the typical teenage angst film by redefining teenagers as individuals with more meaningful reasons behind Hollywood's negative labeling of them. It shows that teenagers are not simply defined by stereotypes, but instead have their own unique experiences, struggles, and realities that go beyond surface-level assumptions.