Press shift question mark to access a list of keyboard shortcuts. 0 seconds of 1 minute, 26 secondsVolume 90. Debbie Rochon Breasts Scene in Tromeo And Juliet. By contextualizing Kauffman’s film within the emergence of the teen pic genre of the late 1980s and early 1990s, this essay argues that Tromeo’s main goal-beyond simply shocking, grossing out, and titillating its viewers-is to save Shakespeare from the mainstream market’s teenification of everything. Pierced Lip Male Masturbation Pierced Pier Lesbians 2 Girls Breast Fondling Fondling.
This essay argues that Lloyd Kauffman’s Tromeo & Juliet (1996) responds to the cute-ification of Shakespeare. According to this reading, cute appropriations prove to be particularly insidious, revealing much about the strategic functions of adult misrepresentations of youth-and effacing the historical, social, and psychological pressures that can, and often do, end in tragedy. When unchecked or unreflective, such cute cinematic Romeos and Juliets appear merely to collude with conservative cultural and educational agendas whose goal is to socialize youth. Unlike that originary appropriation of Romeo and Juliet, for example-involving the golden statues whose opulence is designed to provoke awe in onlookers-cinematic appropriations tend to trade in the postmodern aesthetic language of the “cute,” which is more likely to appeal to the superiority of onlookers.
ABSTRACT As Romeo and Juliet has shifted from an adult tragedy involving young persons to what has become a Young Adult classic, so too have the aesthetic modes of representation and appropriation shifted in ways reflective of modernism’s transition to postmodernism.