When it was discovered that the AIDS/HIV virus could be transmitted heteroSEual SE in the mid-1980s, society's attitude to The attitude towards casual SE and uninhibited behavior changed and the image of a more sensitive and virtuous youth began to feature in romantic comedies and dramas. Other teen films about romance and love were made, most notably in the John Hughes film cycle, which included Sixteen Candles (1984) and Pretty in Pink (1986). John Hughes' work as screenwriter-director-producer particularly highlighted this new representation of adolescent identity. The focus was not on the physical aspect of SE and its ramifications, but rather on the emotional reaction of the protagonists. His more sensitive portrayal of adolescent torment left a permanent mark on the teen genre of the 1980s. In the AIDS era, Hughes's films featured young protagonists who did little more than kiss and hug. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Should Not Be Banned"?Get the original essayThe generational divide is another topic that surfaces time and time again in 1980s teen films about teenagers rebelling against the authority of adults. The dramatization of the generation gap in films reflects what is happening in modern society. The concept of the traditional family in the post-war years fragmented and young people were more independent and less dependent on their parents for decision-making and emotional support. In the 1980s, adolescents spent less time with their parents and did not seek their advice, but instead confided in their peers or siblings. As in real life, these films from this era depict the strained relationships of adolescents with their parents and other adults. In The Breakfast Club and Ferris Bueller's Day Off, adults were often portrayed in a negative light, in both humorous and serious ways. Teachers were not presented as role models or educators but rather as comic characters or antagonists. They were shown to be arrogant and incompetent bullies, sometimes behaving negligently towards their students, while demanding that teenagers behave in a moralistic and responsible manner. Instead of setting a moral code, teachers behave as badly as teenagers. Parents are often seen as absent and obsessed with becoming rich and adopting the middle-class lifestyle of the Reagan era, particularly in Hughes' romantic comedies. In Ferris Bueller's Day Off, the parents are often invisible, distant, and emotionally disconnected. Ferris plays hooky from school and his goal is to avoid detection by his parents and teacher. Part of his hero status is defined by his anti-authoritarian attitude, particularly towards the teacher figure, the incompetent and uncaring Mr. Rooney, who is portrayed as the villain, although Ferris ridicules him. causing a growing gap between the world of adolescents and adults. Children of callous and detached parents are usually the ones involved in delinquency, early sexual activity, and drug use. This is an important aspect throughout the thesis and provides another connection between the films and their stories. Another important aspect of adolescence examined in teen films of the 1980s is the portrayal of stereotypes between male and female teenage characters andpopular roles such as jocks, popular girls, rebels and nerds. These roles can be found throughout this genre in various forms and manifestations to mimic the presence of these typecast characters in real life and high school. These films provided insight into the stereotype-based caste system that was prevalent in American high schools during this era and which determined the fate and popularity of students. In the teen genre, myths surrounding the status and stereotype of adolescence will be explored in relation to The Breakfast Club. , Revenge of the Nerds and in Pretty in Pink. In The Breakfast Club, there is a confrontation between the white-collar jock and the blue-collar delinquent. In Pretty in Pink, the rich kid and the poor girl try to form a relationship. These films offer valuable insight by outlining a basic definition and establishing a foundation for the role, discussing how characters change and become more three-dimensional as the story develops. Revenge of the Nerds is an example of the genre that will actually take this teenage stereotype and flesh it out into a more rounded character by the end. What the film highlights is the image of the adolescent stereotype and the contradictions that emerge between the nerd, the jock and the popular girl. By the end of the film, nerd Lewis and the main popular girl have shed their stereotypical images by forming a relationship and becoming more complex characters. The Breakfast Club was Hughes's first examination of the adolescent hierarchy within the secondary school system. The theme of athletes and other changing adolescent stereotypes is explored in the film. The roles and identity of adolescents are closely questioned and the problems of adolescents are highlighted in the film. The film examines the five main stereotypes of the American school system: the jock, the nerd, the popular girl, the delinquent and the rebel. This film is an examination of social classes, basic human interactions, and high school dynamics. The Breakfast Club revolves around five high school students who must spend a Saturday in detention together in the school library: the jock: Andy (Emilio Estevez); the nerd: Brian (Anthony Michael Hall); the popular girl: Claire (Molly Ringwald); the delinquent: Bender (Judd Nelson), and the rebel: Allison (Ally Sheedy). As in Revenge, their stereotypical image is made evident from the beginning as the characters are represented by their differences in terms of social and cultural status, academic abilities, and domestic/family lives. The rigidity and hypocritical nature of the teenage stereotype and high school hierarchy are revealed at the end of the film, when unlikely romantic unions form between the opposing teenagers. Similarly, in teen romances such as Pretty in Pink, couples from opposite socio-economic and cultural backgrounds. become romantically attached, despite the opposing forces around them. All indications are that these films send optimistic messages that differences of this nature can be overcome, even in a culture often seen as defined by hierarchical status, wealth and conformity, and romantic relationships can flourish despite these differences. oppositions. There has been a change in attitude between the rich and the poor and bridging the divide between the poor and privileged society has become a reality. This research also examines the importance of social space in relation to adolescent gender. The social sites most associated with the teen movie genre are shopping malls and high schools. The survey will explore how adolescents, as individuals and in groups,.