As a site for the negotiation of coming-of-age dilemmas and crises of identity, the teen film may be seen to have manifested certain tendencies over the turn of the millennium. "Classical" teen film has persisted, particularly in the subgenres of teen horror, comedy, and romance, and "teen activity" films have emerged, particularly around dance and sport. However, a different kind of teen-focused film-what I describe as the "Smart teen film"-has emerged between 1990 and 2005 in the intersection between independent and mainstream cinema. This diverges from generic conventions, in tone and structure, to such an extent that in some cases it cannot be recognized as "teen film" at all. At the same time, its central thematic concerns broadly mirror those of the more conventional teen film.i
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