Wednesday, 23 November 2016

Iron Man

Iron Man

Jericho





Is it better to be feared or respected?

I say, “Is it too much to ask for both?”

With that in mind,
I humbly present the crown jewel of Stark Industries' Freedom Line.

It's the first missile system to incorporate our proprietary repulsor technology.

They say the best weapon is one you never have to fire.

I respectfully disagree.

I prefer the weapon you only have to fire once.

That's how Dad did it.
That's how America does it.
And it's worked out pretty well so far.

Find an excuse to let one of these off the chain, and I personally guarantee you the bad guys won't even want to come out of their caves.

For your consideration, the Jericho.

Pulp Fiction




JULES
Here's the situation. Normally
both of your asses would be dead as fuckin' fried chicken. But you happened to pull this shit while I'm in a transitional period. I don't wanna kill ya, I want to help ya. But I'm afraid I can't give you the case. It don't belong to me. Besides, I went through too much shit this morning on account of this case to just hand it over to your ass. VINCENT (O.S.) What the fuck's goin' on here? Yolanda WHIPS her gun toward the stranger. Vincent, by the bathroom, has his gun out, dead-aimed at Yolanda. JULES It's cool, Vincent! It's cool! Don't do a goddamn thing. Yolanda, it's cool baby, nothin's changed. We're still just talkin'. (to Pumpkin) Tell her we're still cool. PUMPKIN It's cool, Honey Bunny, we're still cool. VINCENT (gun raised) What the hell's goin' on, Jules? JULES Nothin' I can't handle. I want you to just hang back and don't do shit unless it's absolutely necessary. VINCENT Check. JULES Yolanda, how we doin, baby? YOLANDA I gotta go pee! I want to go home. JULES Just hang in there, baby, you're doing' great, Ringo's proud of you and so am I. It's almost over. (to Pumpkin) Now I want you to go in that bag and find my wallet. PUMPKIN Which one is it? JULES It's the one that says Bad Motherfucker on it. Pumpkin looks in the bag and – sure enough – there's a wallet with "Bad Motherfucker" embroidered on it. JULES That's my bad motherfucker. Now open it up and take out the cash. How much is there? PUMPKIN About fifteen hundred dollars. JULES Put it in your pocket, it's yours. Now with the rest of them wallets and the register, that makes this a pretty successful little score. VINCENT Jules, if you give this nimrod fifteen hundred buck, I'm gonna shoot 'em on general principle. JULES You ain't gonna do a goddamn thing, now hang back and shut the fuck up. Besides, I ain't givin' it to him. I'm buyin' somethin' for my money. Wanna know what I'm buyin' Ringo? PUMPKIN What? JULES Your life. I'm givin' you that money so I don't hafta kill your ass. You read the Bible? PUMPKIN Not regularly. JULES There's a passage I got memorized. Ezekiel 25:17. "The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of the darkness. For he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know I am the Lord when I lay my vengeance upon you." I been sayin' that shit for years. And if you ever heard it, it meant your ass. I never really questioned what it meant. I thought it was just a coldblooded thing to say to a motherfucker 'fore you popped a cap in his ass. But I saw some shit this mornin' made me think twice. Now I'm thinkin', it could mean you're the evil man. And I'm the righteous man. And Mr. .45 here, he's the shepherd protecting my righteous ass in the valley of darkness. Or is could by you're the righteous man and I'm the shepherd and it's the world that's evil and selfish. I'd like that. But that shit ain't the truth. The truth is you're the weak. And I'm the tyranny of evil men. But I'm tryin'. I'm tryin' real hard to be a shepherd. Jules lowers his gun, lying it on the table. Pumpkin looks at him, to the money in his hand, then to Yolanda. She looks back. Grabbing the trash bag full of wallets, the two RUN out the door. Jules, who was never risen from his seat the whole time, takes a sip of coffee. JULES (to himself) It's cold. He pushes it aside. Vincent appears next to Jules. VINCENT I think we oughta leave now. JULES That's probably a good idea. Vincent throws some money on the table and Jules grabs the briefcase. Then, to the amazement of the Patrons, the Waitresses, the Cooks, the Bus Boys, and the Manager, these two bad-ass dudes – wearing UC Santa Cruz and "I'm with Stupid" tee-shirts, swim trunks, thongs and packing .45 Automatics – walk out of the coffee shop together without saying a word. FADE OUT

Network. Companies monologue




You have meddled with the primary forces of nature, Mr Beale, and I won't have it! Is that clear?

You think you merely stopped a business deal. That is not the case. The Arabs have taken billions of dollars out of this country, and now they must put it back! It is ebb and flow, tide and gravity. It is ecological balance.

You are an old man who thinks in terms of nations and peoples. There are no nations. There are no peoples. There are no Russians. There are no Arabs. There are no Third Worlds. There is no West. There is only one holistic system of systems. One vast and immane, interwoven, interacting, multi-varied, multi-national dominion of dollars. Petro-dollars, electro-dollars, multi-dollars, reichmarks, rands, rubles, pounds and shekels.

It is the international system of currency which determines the totality of life on this planet. That is the natural order of things today. That is the atomic, and sub-atomic and galactic structure of things today.

And YOU have meddled with the primal forces of nature. And you will atone.

Am I getting through to you, Mr Beale?

You get up on your little twenty-one inch screen and howl about America and democracy. There is no America. There is no democracy. There is only IBM and ITT and AT&T, and DuPont, Dow, Union Carbide and Exxon. Those are the nations of the world today.

What do you think the Russians talk about in their Councils of State? Karl Marx? They get out their linear programming charts, statistical decision theories, mini-max solutions, and compute the price-cost probabilities of their transactions and investments, just like we do.

We no longer live in a world of nations and ideologies, Mr Beale. The world is a college of corporations, inexorably determined by the immutable bye-laws of of business. The world is a business, Mr Beale. It has been since man crawled out of the slime.

And our children will live, Mr Beale, to see that ... perfect ... world in which there is no war nor famine, oppression or brutality. One vast and ecumenical holding company for whom all men will work to serve a common profit. In which all men will hold a share of stock.

All necessities provided. All anxieties tranquilized. All boredom amused.

Ratatouille

Ratatouille

In many ways, the work of a critic is easy. We risk very little yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the new. The world is often unkind to new talent, new creations. The new needs friends.
Last night, I experienced something new, an extra-ordinary meal from a singularly unexpected source. To say that both the meal and its maker have challenged my preconceptions about fine cooking is a gross understatement. They have rocked me to my core. In the past, I have made no secret of my disdain for Chef Gusteau's famous motto: 'Anyone can cook.' But I realize, only now do I truly understand what he meant. Not everyone can become a great artist, but a great artist can come from anywhere. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau's, who is, in this critic's opinion, nothing less than the finest chef in France. I will be returning to Gusteau's soon, hungry for more.

Screenwriter: Brad Bird

Jaws

Jaws




Japanese submarine slammed two torpedoes into our side, chief. 
It was comin' back, from the island of Tinian to Laytee, just delivered the bomb. The Hiroshima bomb. Eleven hundred men went into the water. Vessel went down in twelve minutes. Didn't see the first shark for about a half an hour. Tiger. Thirteen footer. You know how you know that when you're in the water, chief? You tell by lookin' from the dorsal to the tail. What we didn't know... was our bomb mission had been so secret, no distress signal had been sent. Huh huh. They didn't even list us overdue for a week.
 Very first light, chief. The sharks come cruisin'. So we formed ourselves into tight groups. You know it's... kinda like ol' squares in battle like a, you see on a calendar, like the battle of Waterloo. And the idea was, the shark comes to the nearest man and that man, he'd start poundin' and hollerin' and screamin' and sometimes the shark would go away. Sometimes he wouldn't go away. Sometimes that shark, he looks right into you. Right into your eyes. 
You know the thing about a shark, he's got...lifeless eyes, black eyes, like a doll's eye. When he comes at ya, doesn't seem to be livin'. Until he bites ya and those black eyes roll over white. And then, ah then you hear that terrible high pitch screamin' and the ocean turns red and spite of all the poundin' and the hollerin' they all come in and rip you to pieces.

Y'know by the end of that first dawn, lost a hundred men! I don't know how many sharks, maybe a thousand! I don't know how many men, they averaged six an hour. 
On Thursday mornin' chief, I bumped into a friend of mine, Herbie Robinson from Cleveland. Baseball player, boson's mate. I thought he was asleep, reached over to wake him up. Bobbed up and down in the water, just like a kinda top. Up ended. Well... he'd been bitten in half below the waist. 
Noon the fifth day, Mr. Hooper, a Lockheed Ventura saw us, he swung in low and he saw us. He's a young pilot, a lot younger than Mr. Hooper, anyway he saw us and come in low. And three hours later a big fat PBY comes down and start to pick us up. You know that was the time I was most frightened? Waitin' for my turn. I'll never put on a lifejacket again. 
So, eleven hundred men went in the water, three hundred and sixteen men come out, the sharks took the rest, June the 29, 1945. Anyway, we delivered the bomb.

The Devil Wears Prada

The Devil Wears Prada 
 


'This... stuff'? Oh, ok. I see. You think this has nothing to do with you. You go to your closet and you select, I don't know, that lumpy blue sweater, for instance, because you're trying to tell the world that you take yourself too seriously to care about what you put on your back. 

But what you don't know is that that sweater is not just blue, it's not turquoise. It's not lapis. It's actually cerulean. And you're also blithely unaware of the fact that in 2002, Oscar de la Renta did a collection of cerulean gowns. And then I think it was Yves Saint Laurent, wasn't it, who showed cerulean military jackets? I think we need a jacket here. And then cerulean quickly showed up in the collections of eight different designers. And then it, uh, filtered down through the department stores and then trickled on down into some tragic Casual Corner where you, no doubt, fished it out of some clearance bin. 

 However, that blue represents millions of dollars and countless jobs, and it's sort of comical how you think that you've made a choice that exempts you from the fashion industry when, in fact, you're wearing the sweater that was selected for you by the people in this room from a pile of stuff. 


 Screenwriter: Aline Brosh McKenna

10 Things I Hate About You

10 Things I Hate About You

I Hate.... poem





I hate the way you talk to me 
And the way you cut your hair 
I hate the way you drive my car 
I hate it when you stare 

I hate your big dumb combat boots 
And the way you read my mind 
I hate you so much that it makes me sick 
It even makes me rhyme 

I hate the way you're always right 
I hate it when you lie 
I hate it when you make me laugh 
Even worse when you make me cry 

I hate the way you're not around 
And the fact that you didn't call 
But mostly I hate the way I don't hate you 
Not even close, not even a little bit, not even at all

satire

Tuesday, 15 November 2016

Visual rhetoric homework

Visual Rhetoric Homework

3 sources for each (not wikipedia) plus a brief explanation (pictures would be nice too)

colour theory

perspective

contrast

hierarchy

rule of thirds

RAF Chavs





Thursday, 3 November 2016

Headlines

Headlines

Headlines

alliteration
rhyme
intertextuality
brevity
idiom
loaded language
fear
naming
punning (word play)
juxtaposition
consonance, assonance


The headline serves the paper and its relationship to the audience

red banner - short and loosely tied to the story (deck gives real info)
blue banner - shortish and based on fear/outrage
black banner - longer and more sophisticated language
Broadsheet - longer and more sophisticated again

Newspaper Essay

Newspaper Essay Outline

The medium is the message because it shapes the message

to be considered.....
  • front page (How many stories?; What stories?; How big and how many graphics?; What are the teasers like and how many? 
  • Language- Syntax and diction (diction is more like to be sophisticated or highly sophisticated)
  • Banner/Headline/Deck/1st and 2nd paragraph-Does it drops lead? How often? Does the headline speak to the stories?
  • Stories about what and who’s perspective 
  • editorials- about what? What is the opinion?
  • Who is/ are the target demographic?
  • size of paper
  • Targeted audience?

Introduction
Introduce the newspaper, where it is from, what type of paper it is(broadsheet, tabloid, morning newspaper, Berliner.) Then talk about what key elements will be discussed (ie sophistication, focus of stories, bias ad how these will be examined)


Body Paragraph ONE
Talk about the front page, the amount of graphics and stories. How big the headlines are, what are the teasers like? What does this tell you about the newspaper? What does the front page look like?                
Body Paragraph TWO
What kind of stories are on the front page?

Body Paragraph THREE
How are the stories constructed: headline, deck, graphic. Does the headline speak to the stories? (reference to diction) (diction- word choice and why?/level of audience)

Body Paragraph FOUR
How are the stories constructed: first paragraph (reference to diction and syntax) (diction- word choice and why?/level of audience)(syntax- how you structure you sentence and paragraph)


Body Paragraph FIVE
What comes after each news article( the second paragraph and the rest of the inverted pyramid, does my paper drops lead? If Yes, how often? 


Body Paragraph SIX
What are the editorials about? What kind of editorials are they? What is the opinion?

Conclusion
Sum up all the analysis of each paragraph. What does this tell you about the newspaper? Talk about the demographic. Wrap it up by restating the big point and revisit key ideas from explanations.



The medium is the message because it changes the message

Fry's Planet Word

5 episodes


Tuesday, 1 November 2016

Hero's Journey

The Hero's Journey Outline
The Hero’s Journey is a pattern of narrative identified by the American scholar Joseph Campbell that appears in drama, storytelling, myth, religious ritual, and psychological development.  It describes the typical adventure of the archetype known as The Hero, the person who goes out and achieves great deeds on behalf of the group, tribe, or civilization.
Its stages are:
1.        THE ORDINARY WORLD.  The hero, uneasy, uncomfortable or unaware, is introduced sympathetically so the audience can identify with the situation or dilemma.  The hero is shown against a background of environment, heredity, and personal history.  Some kind of polarity in the hero’s life is pulling in different directions and causing stress.
2.        THE CALL TO ADVENTURE.  Something shakes up the situation, either from external pressures or from something rising up from deep within, so the hero must face the beginnings of change. 
3.        REFUSAL OF THE CALL.  The hero feels the fear of the unknown and tries to turn away from the adventure, however briefly.  Alternately, another character may express the uncertainty and danger ahead.
4.        MEETING WITH THE MENTOR.  The hero comes across a seasoned traveler of the worlds who gives him or her training, equipment, or advice that will help on the journey.  Or the hero reaches within to a source of courage and wisdom.
5.        CROSSING THE THRESHOLD.  At the end of Act One, the hero commits to leaving the Ordinary World and entering a new region or condition with unfamiliar rules and values. 
6.        TESTS, ALLIES AND ENEMIES.  The hero is tested and sorts out allegiances in the Special World.
7.        APPROACH.  The hero and newfound allies prepare for the major challenge in the Special world.
8.        THE ORDEAL.  Near the middle of the story, the hero enters a central space in the Special World and confronts death or faces his or her greatest fear.  Out of the moment of death comes a new life. 
9.        THE REWARD.  The hero takes possession of the treasure won by facing death.  There may be celebration, but there is also danger of losing the treasure again.
10.      THE ROAD BACK.  About three-fourths of the way through the story, the hero is driven to complete the adventure, leaving the Special World to be sure the treasure is brought home.  Often a chase scene signals the urgency and danger of the mission.
11.     THE RESURRECTION.  At the climax, the hero is severely tested once more on the threshold of home.  He or she is purified by a last sacrifice, another moment of death and rebirth, but on a higher and more complete level.  By the hero’s action, the polarities that were in conflict at the beginning are finally resolved.
12.       RETURN WITH THE ELIXIR.  The hero returns home or continues the journey, bearing some element of the treasure that has the power to transform the world as the hero has been transformed.

http://www.thewritersjourney.com/hero%27s_journey.htm

Teens 1

Independent.co.uk

'Hoodies, louts, scum': how media demonises teenagers

Research finds negative stories in the press make teenage boys frightened of each other
By Richard Garner, Education Editor
Friday, 13 March 2009
The portrayal of teenage boys as "yobs" in the media has made the boys wary of other teenagers, according to new research.
Figures show more than half of the stories about teenage boys in national and regional newspapers in the past year (4,374 out of 8,629) were about crime. The word most commonly used to describe them was "yobs" (591 times), followed by "thugs" (254 times), "sick" (119 times) and "feral" (96 times).
Other terms often used included "hoodie", "louts", "heartless", "evil" "frightening", "scum", "monsters", "inhuman" and "threatening".
The research – commissioned by Women in Journalism – showed the best chance a teenager had of receiving sympathetic coverage was if they died.
"We found some news coverage where teen boys were described in glowing terms – 'model student', 'angel', 'altar boy' or 'every mother's perfect son'," the research concluded, "but sadly these were reserved for teenage boys who met a violent and untimely death."
At the same time a survey of nearly 1,000 teenage boys found 85 per cent believed newspapers portray them in a bad light.
They felt reality TV – with shows like The X Factor and Britain's Got Talent – portrayed them in a better light – with fewer than 20 per cent believing they were being portrayed negatively.
As a result of the negative press, 80 per cent felt adults were more wary of them now than they had been a year ago. However, the most striking finding, according to the research, was that many were now more wary of boys of their own age. "It seems the endless diet of media reports about 'yobs' and 'feral' youths is making them fearful of other teens," it said. "Nearly a third said they are 'always' or 'often' wary of teenage boys they don't know.
"The most popular reason for their wariness, cited by 51 per cent was 'media stories about teen boys' compared with 40 per cent who said their wariness was based on their own or friends' bad experiences of other teens."
Nearly three-quarters said they had changed their behaviour as a result of this wariness. The most common change, cited by 45.7 per cent, was boys avoiding places where teenagers hung around. Others included dressing differently (14.2 per cent), and changing who they were seen with (11.9 per cent). "For much of the press, there is no such thing as a good news story about teenagers," it added.
"Stories about sport and entertainment, which might have balanced other negative coverage, also took a critical line. Only 16 per cent of stories about teens and entertainment were positive: only 24 per cent about teens and sport were positive."
The research found that – for all the coverage of teenage issues – the boys' voices themselves were rarely heard in newspapers. Fewer than one in 10 articles about young people actually quoted young people or included their perspectives in the debate.
Fiona Bawden, the WiJ committee member who presented the research at the British Library, said: "When a photo of a group of perfectly ordinary lads standing around wearing hooded tops has become visual shorthand for urban menace, or even the breakdown of society, it's clear teenage boys have a serious image problem.
"The teen boys' 'brand' has become toxic. Media coverage of boys is unrelentingly negative, focusing almost entirely on them as victims or perpetrators of crime – and our research shows that the media is helping make teenage boys fearful of each other."


The research, Hoodies or Altar Boys? what is media stereotyping doing to our British boys? was carried out for WiJ by the research company, Echo.

Teens 2

Hurray for teenagers

Why are people so negative about teenagers, asks Louisa Young, when most of them are adorable, funny, interesting, imaginative, brave, generous, loyal, hard-working and helpful?


Why are so many people so negative about teenagers and so rude to them? I'm not talking about the ones who knife each other at bus stops and torment each other to suicide on social networking websites, about whom we read so much in the scared and scaremongering newspapers. I'm talking about everyday, normal teenagers. There is scarcely another group in this country so stereotyped and maligned.
What is worse, most adults think that teenagers deserve the bad press they get. I don't, so I am going to upend the negative generalisations and announce my own: that teenagers are, in general, adorable, funny, energetic, very hard-working, beautiful, interesting, imaginative, generous, loyal, vulnerable, brave, charming, helpful, clever, well-dressed and very good cooks. (And I'm not just talking about my own. I'm writer in residence at two inner London secondary schools.)
Consider these teenagers. Eighteen-year-old soldiers William Aldridge, Joseph Murphy and James Backhouse, died in July in Afghanistan trying to save the lives of their brothers in arms. Andrew Dalton, 17, from Wirral, saved two small children from a fire. Mike Perham, 17, sailed round the world alone. Fifteen-year-old Tom Daley is a world champion diver. Milan Karki, 18, in Nepal, has invented a new kind of solar panel using human hair. Welsh 15-year-olds Leighton Griffiths and Tyler Hulpin saved six children from the burning house next door in May. Leighton went back in three times and ended up in hospital himself.
Of course, not every teenager gets the opportunity to be that kind of hero. But in my experience they are not lazy sods who never get out of bed. Isabel, a 16-year-old London A-level student about whom I can say nothing because she is my own daughter, worked out an average teenage schoolday for me: "Up at 6.30am, leave at 7.45am for school at 8.30am; out again at 4pm, extra curricular stuff till 5pm, home 5.45pm, three hours of homework, say, takes you to 8.45pm, by which time, if you're to get the recommended nine and a half hours' sleep, you should go to bed."
But they also need to eat (family meals round the table, five vegetables a day!); to exercise (obesity!); to wash (dirty!); to maintain their beauty (munter!). They must do chores (spoilt!); get out of the house (couch potato!) but not hang out in public places (threatening! antisocial! Or, er, dangerous!) And perhaps they might also be allowed a bit of social life ...
How on earth can they fit it all in? Teenagers do, physically, need around nine and half hours sleep a night, during which new brain cells are wired, thus increasing intelligence, self-awareness and performance. They get on average about seven hours, whereupon they often become cranky, slower-witted and resentful.
Russell Foster, chair of circadian neuroscience at Brasenose College, Oxford, has shown that teenagers' brains work better during the afternoon. They're not lazy, they're biologically programmed. There are simple reasons why they never clean up. First, they haven't the time. Second, nobody clears up as much as someone else might want them to. Third, they aren't usually as good at it as adults. They haven't had the practice.
But these are petty annoyances, compared with the big moans. And these are the ones where we really do them injustice. For example, drinking. If they do drink like fish, where did they get the idea? Who makes the booze? And who makes the money out of it? Not teenagers. A society that drinks as much as we do and still advertises alcohol even after the British Medical Association has told us not to, is a society that might benefit from doing one of those alcohol-awareness questionnaires. Shouting at teenagers for getting drunk is a simple projection of our own faults on to people we feel we can boss around.
Teenagers are told, on the one hand, to control themselves, and, on the other, carted off on booze-company-sponsored nightclub crawls as part of freshers' week at universities. "And no one," says Isabel, "publishes a picture labelled 'Look! It's Kate Winslet! She's not drunk and she's got all her clothes on!'" Of course teenagers get confused by these contradictions.
The drink issue is further charged by the fact that parents tend to infantilise their children in pursuit of their own immortality. To let them grow up, we have to grow up and even, God forbid, get old and die. Yet many of us are under the impression that we are the bright young things. Do we not occasionally thrill vicariously to our offsprings' misdemeanours? Are we not sometimes jealous of them?
Alongside this are the parents (the Duchess of York, for example) who think that they are "best friends" with their teenagers. No, you're not. They've got loads of friends and only one or two parents. This is, of course, no reason not to be friendly. At the same time, we can be scared for them and not trust them to go out and learn to operate maturely in the actual world. Because we have created a terrifying world, and we feel guilty, we keep them home and let them watch TV all day, whereupon they get fat from lack of movement, and succumb to the horrible fantasy world of advertising, where clever people make fortunes deluding us into spending money we don't have on things we don't need. Which is much more dangerous.
And then we start castigating them for being greedy little label-mad consumerists. But how could they not be, surrounded by advertisements telling them that "Impatience is a Virtue", and "Feed (Your) Addiction", "because you're worth it"? I trained Isabel from an early age to recognise adverts and what they were trying to do, and to mute the TV when they came on. Now, she says: "It was the single best thing you ever did for me."
Not knowing your own worth, particularly among girls (at whom most of these ads are aimed) is a fundamental contributor to promiscuity. The image of promiscuous teenagers is another at which too many adults gawp in combined envy and horror. But they grow, as Rumi, the 13th-century Sufi poet, said, in the garden in which they are planted. They imitate adults, and look to what they see glorified, and lo, they think nothing is more glamorous than falling in and out of cabs with their knickers showing, though this goes against the inner natural reserve of many, which is not honoured in anything they see around them. Instead, they see quasi-pornography in adverts and real pornography on the internet, and think threesomes and bald pudenda are normal, and they become confused as to what is required of them.
Here and now, behaving badly is recognised as a mass-marketable commodity. Fulham mothers wear leather trousers; The X Factor wheels out marketing-lite versions of a different youth tribe every week. Primary-school children are playing at snorting sherbet and ground up Love Hearts in the playground. Rebelling has become conforming. How can teenagers not be confused?
No wonder, perhaps, that adults are scared of them. But, as organisations such as Kids Company know, the really scary ones are the really scared ones. The best thing an adult can do is find a way past the scary behaviour to the scared kid. You don't have to hug the hoodies lurking in your street, but you could try saying, "Evening, lads."
I asked some teenagers if they were badly behaved. "Everyone expects you to rebel," says Kehinde, a 6ft, 16-year-old karate black belt with the voice of an angel and a cute afro, "so people go along with it because if you don't, other teenagers reject you, because they are scared of being rejected."
Everybody wants to fit in; everybody wants to stand out. "The worst thing," says Ruby, 17, an art scholar, is that "some of us act exactly how we want because we are teenagers, but others feel as if they should act a certain way to be a teenager."
"It's a vicious circle," agrees Sindri, 16. "People say, 'Oh, she's weird', to make themselves look not weird. To look bigger by putting someone else down. I hate it."
If they do want to be good, they get rounded on again. My nephew Remel, 13, a London schoolboy who has directed an award-winning film against knife crime, (The Circle of Resentment), says: "Once a year you see all these late-teens achieving amazing GCSE results, but for most of the time teenagers are portrayed in a bad light by the media. Stabbings, shootings. They seem to miss out that not all teenagers are carrying around knives and thinking they own the place. Yet when there is a chance for the good majority of the teenage population to be shown, we are portrayed as generally terrible."
Then when teenagers do get good results – well, the standards have fallen, haven't they?
Meanwhile, another nephew, Archie, 17, who wants to do well at school, finds himself stuck in one of the lowest echelons of secondary school society – that of the "social outcast", "rebel", "goth" or, to blanket all terms, "geek". The logic is, if you're clever, you'd better pierce yourself all over if you don't want to be scorned by your peers, whereupon adults will start crossing the road to avoid you.
Possibly the rudest thing adults do to teenagers is to assume they are always trying to steal from shops. Some are and, of course, they shouldn't. But can we bear in mind that they are constantly being told that particular items are "must haves" and led to believe that possession is the source of all joy? Everyone I've spoken to for this article has been followed round a shop by the store detective at least once.
Melanie, 16, a charming Quaker, was followed out of Superdrug: "He thought I'd stolen some paracetamol, which was pointless and annoying."
Kehinde was taken for a bag lady at Heathrow. Flora, 15, who lives in the country and feels this rather disqualifies her from being a teenager at all, given their public image, says: "I actually really enjoy the suspicious looks. I find it absolutely hilarious that anyone could find me intimidating or think that I'm dangerous in any way."
Bertie likes to "put my hood up and act shifty and then go to the till and put on my poshest voice and stare right into their eyes until they realise this is just a silly game and we both burst into laughter."
You see? How irresponsible! But they're not. Tash, 16, is quite clear: The people we should blame are the teenagers themselves who give us an awful reputation."
Meaghan, 18, agrees: "The few teenagers who are actually bastards leave a longer impression than those who work hard, which almost makes you think there's no point trying because no one will think any higher of you than of your peers who call everyone 'blud' and shout at people on the street."
I think there is an insidious tendency to moan about our own children in order not to appear smug. It may be part of the great female self-deprecation habit, whereby no woman will admit to being even passably good-looking. If this is the case, we are making a big error: our children are not us. Would we belittle our friends? I think not. Husbands and partners? Maybe, but when people do that in public don't you wish they wouldn't?
Our teenagers still, more than ever, on that long journey from childhood to adulthood, want, need and deserve our encouragement and admiration. Two images of teendom stick in my mind. One is young Joe McElderry's rendition of Dance with my Father at the beginning of this year's X Factor – a gorgeous, sentimental love song from offspring to adult. The other was when I first asked Kehinde if teenagers were given a bum deal: she said yes, look at those poor Afghan boys in Calais in September, after the "jungle" camp was bulldozed. She didn't even think I was talking about her. She was thinking about them.


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Language and Identity