Tearing up the screen: BFI’s Rip It Up season rebels against tired teen stereotypes

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Young people have chosen this six-month season, and though rebel classics such as Quadrophenia and If … are here, the picks show youth culture in flux Seventy-five years ago, the Festival of Britain offered a vision of a modern, forward-looking nation emerging from the austerity of the second world war. It also coincided with the emergence of a new cultural figure in the US: the teenager. For the first time, young people were beginning to be recognised as a distinct social group with their own tastes, fashions, anxieties and aspirations. That evolution forms the basis of Rip It Up, a new nationwide season from the BFI Film Audience Network running from May to October, exploring how British film and television have captured youth culture across seven decades. Bringing together screenings, archive material, talks, live events and youth-led programming, the season traces a journey from postwar rebellion and working-class aspiration to contemporary questions of identity, belonging and self...
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After 10 years, I'm stepping down as the Observer's film critic. Here are my top films from the decade | Mark Kermode

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As I leave the post, I look back on how cinema has changed since 2013 and, below, pick a favourite movie from each year of my tenure – as well as a turkey

This week, I filed my final column as chief film critic for the Observer. I’m stepping down after exactly 10 years in the role, making way for the brilliant Wendy Ide to take over the reins and put her own inimitable stamp on the paper. A longstanding colleague and friend, Wendy is an exceptional critic and I look forward to reading her insightful and elegant reviews in these pages for years to come. In the meantime, looking back at my own experiences over the past decade, I’m struck by how much the moviegoing landscape has changed.

When I took over from the great Philip French in September 2013, Kathryn Bigelow was still the only woman to have won the Oscar for best director, having made history when she triumphed with her tense war drama The Hurt Locker in 2010. The Academy Awards have, of course, always been inherently ridiculous (remember: Citizen Kane didn’t win best picture, but Driving Miss Daisy did). For better or worse, however, this very American shindig tells us something about the way the mainstream film industry views itself. And since the first Oscars ceremony back in 1929, the Academy has overwhelmingly celebrated and prioritised white male film-makers. Yet in the past 10 years, things have at least begun to shift in encouraging ways.

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