1. We employ the terms "youth" and "young adult'' rather interchangeably, and conceive these populations to generally be between the ages of 12 and 20. There are instances where the young characters we study are slightly younger than 12 or older than 20, but are nonetheless dealing with issues related to leaving childhood and becoming an adult. We conceive of adolescence and puberty as covering this range of ages, even though the terms have a wide variety of applications in different contexts and cultures. "Teen" and "teenager" are terms that we use only when referring specifically to teenaged characters.

We conceive of "global cinema'' as representing all moviemaking nations, and we thus include U.S. films within these essays, even though our emphasis is on the cultural experience of youth beyond dominant Hollywood.

2. We attempted to contact the few authors who have written books on youth in international cinema to join this project, but none were available. According to the Library of Congress, only 10 books on youth films have been published outside the U.S.:

Albero Spezzato: Cinema e Psicoanalisi su Infanzia e Adolescenza, by Maurizio

Regosa (Italy, 2003)

Calaccitre Santrasa o Yuba Samaja: Gabeshana Pratibedana, no author listed (Bangladesh, 2002)

Cinema e Adolescenza: Saggi e Strumenti, by Flavio Vergerio (Italy, 2000) Film w Zyciu i Wychowaniu Mlodziezy, by Henryk Depta (Poland, 1983)

Gioventü Perduta: Gli Anni Cinquanta Dei Giovani e del Cinema in Italia, by

Enrica Capussotti (Italy, 2004) Kultura Filmowa Mlodziezy, by Stanislaw Morawski (Poland, 1977) Seishun eiga gurafiti, by Takayoshi Nada (Japan, 1980) Seishun eiga no keifu, by Tadao Sato (Japan, 1976)

Sinama Ksetraya Udesa Antar Jatika Taruna Varsayedi Tarunaya ge Anugrahaya, by

Piyasoma Medis ge vigr (Sri Lanka, 1985) Zwischen Bluejeans und Blauhemden: Jugendfilm in Ost und West, by Ingelore König and Dieter Wiede (Germany, 1995)

3. We are aware that only Claudia Preckel's essay addresses youth in any African countries, and only Arab cultures at that. We had hoped to include at least one essay on youth in sub-Saharan African cinema, but at this time, we do not have contact with any scholar who could provide such a study. We welcome suggestions for future editions of this book.

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