Cultural Mix

From the collection of

The North East Film Archive, based at Teesside University, save and celebrate the screen heritage of the North East of England. At the heart of their collection are films made by, and for, local people, reflecting and representing the communities, places and distinctive identity of the region. Together with their sister archive in Yorkshire they form the Yorkshire and North East Film Archive, a unique pan-regional resource with over 75,000 moving image artefacts, part of York St John University. They unlock the collections for artists, academics, curators, programmers, researchers, and producers to reveal compelling stories from the vaults. www.yfanefa.com

Cultural Mix (Millennium Movies )

North East Film Archive
Sunderland
2000-02-04
Sound

An intriguing counter-argument to the idea of cultural appropriation. Have we become more likely to mix our cultural fashion norms in the 21st century?

In the 21st century a variety of academics and public figures have weighed in on a debate around 'cultural appropriation'. Many people hold the view that individuals from white western backgrounds should not adopt the traditions of historically oppressed groups to which they have no genetic connection; particularly in dress, hair or makeup. A white British television presenter, for example, could expect to receive heavy criticism for wearing an Indian sari purely as a fashion choice.

However, in this film the narrator voices a hope that the 21st century will move in a different direction entirely. Her voice, as a young woman of Asian descent, is one which has traditionally been poorly represented in British television, and her opinion raises interesting questions.

The Kids Are Alright: Youth Culture on Screen

Teds, mods, rockers, punks, goths, ravers, hoodies, emos... The 20th Century phenomenon of ‘youth culture’ is a dynamic expression of identity, with its hands on music, fashion, language and generational change.

Since the ‘rowdy generation’ of the 1950s, teenagers and youth culture have been defined from the outside and from within. Young people proclaim their social identity through style, music and the spaces they occupy – which also makes them a visible target, and they become a bellwether (or scapegoat) for the state of the nation.

To the establishment, they are a source of anthropological curiosity and hand-wringing moral panic – as well as a key commercial audience, whether for consumer products, political movements or radio and television programming. An obsession with youth against mistrust and misunderstanding; attitudes towards the young are full of contradictions.

Today, youth culture is online, in a vast expanse of communities and identities. The internet has enabled a ‘pick n mix’ approach to music and fashion, while allowing local scenes to set trends globally, and giving young voices the platform to speak – loudly – for themselves.