Cinema, Destination Image and Place Branding Cinema, Destination Image & Place Branding - Page 138

CINEMA, DESTINATION IMAGE & PLACE BRANDING the film is not a fantasy. It could happen to anybody. It enables us to sympathize with protagonists and helps us to find similar experience in our past. As an audi- ence, by watching Stand By Me, it is more likely to be able to visualize and give meaning to our own experience as an adolescent. That is why Stand By Me func- tions more consciously as a teen movie. While The Wizard of Oz is significant as one of the first teen films as it already shows some of the prototypes to visualize utopian space, it is proven by Stand By Me that over the years, the function of the teen films has developed and came to be more conscious of visualizing the audience’s own transitional, utopian space. 2. The Adult Point of View Giving Meaning to the Experience of Growing Up One of the cinematic ways to shape and visualize the utopian place is to use an adult point of view to give meaning to a particular time of the youth by look- ing it back. In this chapter, I will discuss two films, which are Stand By Me and Amer- ican Graffiti in terms of their point of view from the later years of protagonists’ lives. Despite the fact that it deal with not exactly teenagers but slightly younger boys, who are about twelve, without argument, Stand By Me is one of the repre- sentatives in the genre of teen films. And the reason why it got such high reputa- tion is that th is film is not only targeted toward young people but also became extremely popular among middle-aged men. Also, American Graffiti is very popu- lar among middle-aged people. Although Driscoll claims that “One apparently cen- tral and transparent fact about teen film is that it is for adolescents” (3), films such as Stand by Me and American Graffiti are for people of every age. Lesley Speed begins her essay called “Tuesday’s Gone” by naming Stand By Me as the nostalgic teen film. She points out the fact that Stand By Me is narrated from the adult’s point of view. One of the protagonists grew into a novelist. A recent death of his friend brings him back the memory of his boyhood. The story is framed by the novelist’ voiceover. Speed argues that by introducing adult’s point of view to the teen films that are supposedly maintaining teen’s point of view, the film becomes more conservative. She states as follows. Whereas most teen films emphasize an adolescent point of view, the nos- talgic teen movie reveals tensions between youth and adulthood at the level of narration, which can be seen as the site of a quest to contain adolescence. The containment of youth’s affinities with excess, transition, and immediacy 138 return to the content page