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Juvenile Deliquency Films 2 Dual Layer DVD Set

Juvenile Deliquency Films 2 Dual Layer DVD Set
Item# juvenile-deliquency-films-2-dual-layer-dvd-se2
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26 Classic Scare Films About Reckless Tender Youth - Over 7 Hours Packed Into 2 Dual Layer All Regions DVDs!

Contents:

A CHANCE TO PLAY (1950, 18:05)
General Electric partnered with the National Recreation Association & had The March of Time produce this film to propagate the idea that floodlights were a bulwark against juvenile deliquency. It might sound daft at first, but one you watch this film, you'll see how nightime lighting provides for recreations that keep the younger members of the populace occupied in more wholesome activities than vandalism, drug-taking and criminal activity in general.

ACT YOUR AGE (1949, 13:22)
Jim doesn't like math, and as his mind wanders during his lessons, he carves his initials into his high school desk. The principal finds out and helps Jim understand that he's not a child anymore and gives him the means both to judge if he is acting like one or not and correct the problem if he is.

ALCOHOL TRIGGER FILMS FOR JUNIOR HIGH: THE PARTY, THE MOTHER, THE BRIDE (1979, 8:57)
Three dramatizations of situations youngsters will find themselves in with regard to drinking - the new kid on the block tries to make friends by opening his house up to a party when the parents are gone; a drunk mom picks up daughter & friend from school & goes to a mall; young kids are seduced into drinking by older kids & then go along for a car ride.

ARE YOU POPULAR? (1947, 9:53)
What are "good" and "bad" girls? What is proper dating ettiquette? How does a child treat their parents? Most of all, why are some kids popular and others not? This classic time piece indicates clearly the morés of the time and the social and psychological pressures they placed upon the post-war generation.

AS THE TWIG IS BENT... (1943, 10:50)
Classic World War II era scare film demonstrating the crumbling morals of youthful America resulting from the nation's diversion of attention away from the family unit as it focused upon winning the war.

ASK ME, DON'T TELL ME (1961, 20:55)
San Francisco gangland is the subject here, all the ethnic variety of it. Includes a survey of the sad, violent and hopeless world these youngsters live in, the turf fights they inevitably engage in, the punishments the law ultimately metes to them and, also, the vocational and social paths rehabilitation lies in.

BOY IN COURT (1940, 10:15)
The National Probation and Parole Association produced this film in order to convince the public that Juvenile Court was an enlightened, humane and effective means of dealing with youth crime. Its focus is upon 15-year-old Johnny, who goes straight after stealing cars with his hoodlum friends results in his being sentenced by an avuncular Judge to probation under the tutelage of a kindly probation officer. What wonders church & social services bred in 1940!

BOY WITH A KNIFE (1956, 19:15)
Richard Widmark narrates us through the story of Jerry, a young man wielding a knife in answer to the troubles brought on him by his wicked stepmother, and it takes an actor who wields a rifle on tv (Chuck Conners of "The Rifleman") to play the fairy godfather social worker who makes all work out right in the end. Sponsored by the Los Angeles Community Chest.

CHEATING (1952, 11:00)
Cheating on an alegbra test is a ticket to ones own personal hell, as John convinces Mary to help him perform the dirty deed. THIS could happen to YOU if YOU get in involved in school politics!

EMOTIONAL MATURITY (1957, 20:32)
Life's not going well for Dave - his Dad doesn't like him, his girlfriend left him, his football coach benched him and he just can't handle all the rejection. Slashing the tires of his rival isn't the way, but it's the way he chooses. This film seeks to analyze why he Dave made such choices as a cautionary tale to the young viewer.

LET'S BE GOOD CITIZENS AT SCHOOL (1953, 8:45)
The fifties have become known as the age of conformity, and it may well be that this film made a great contribution towards this age. Imagine Wally of "Leave It To Beaver" indoctrinated by Jack Webb of "Dragnet" and you'll get the picture of this picture.

MEASURE OF A MAN (1951, 22:00)
Three high school boys go out on the town in an automobile, hit the local hot spots to pick up girls, and end up dealing with the moral dilemma not of what to do with the girls, but rather whether or not to listen to the lone boy among them that wants them to say no to beer.

OTHER PEOPLE'S PROPERTY (1951, 9:55)
Three boys fooling around get themselves into serious trouble when they make a chemical smoke bomb to prank the school that works far more powerfully than anticipated!

PLAYING TOGETHER (1947, 9:59)
Yes Virginia, there WAS a Mister Rogers before Mr. Rogers. At least Donny & Duncan live in a world that grand old man must have come from, and the piano score that tinkles throughout serves very strongly to underscore this impression. They learn how to play with each other & others and as much about how not to play, too. Take a bike ride along with 'em as they make their way towards the community pool.

RIGHT OR WRONG? (MAKING MORAL DECISIONS) (1951, 10:11)
Harry's out with his hoodlum friends, who are throwing rocks at a warehouse window while Harry decides not to cast his stone. He gets caught by the cops anyway, though, after the night watchman I.D.'s him to the authorities. Sgt. Kelly wants Harry to talk, but Harry won't, and although this film doesn't actually come out and tell its young viewers "rat on your friends - an ommission that is an interesting and deliberate lesson in and of itself - it illustrates what forces can come to bear on making that decision, and it repeatedly requires the viewer to ask themselves what they should do in similar circumstances.

ANGRY BOY (1950, 29:38)
Ten year old Tommy's acting out the worst parts of his parents' behavior. A social worker helps his Mom come to terms with Tommy's problem, which is to say that she comes to terms with her own poor familial relations. Before there was "Rebel Without A Cause", there was much more sober psychodrama.

THAT BOY JOE (1944, 17:27)
It's World War II America, and while the cat's are away at war work, the mice will play with their hoodlum friends all the more. But all this mouse play (and a good measure of drinking and smoking) puts little Joe in juvenile court, and boy, does the judge let his parents have it for not taking him to the Boy Scouts or to church to save him from his wastrel ways!

THE BULLY (1952, 10:22)
It is difficult to determine exactly what the message of this film is other than the fact that bullies are dangerous and a fact of life - an in many ways, that is as certain and definite a message as any on this subject, and one with continuing merit. There are kids like Chick in every school in every state in every nation - they almost certainly aren't as bad at acting as he and the rest of his cronies & victims in this film are, but as anyone who knows school bullying first hand, it may be surrealist theatre, but as Columbine shows, it's all too real. At least in this performance the target is the class picnic, and Chick's buddy successfully rats him out.

THE DARKNESS BEFORE THE DAWN (1955, 21:14)
The New York City Jewish Youth Organization PRIDE OF JUDEA produced this documentary on its successful efforts in assisting the wayward teenage boys of their community.

THE OTHER FELLOW'S FEELINGS (1951, 8:05)
An intelligent, thought-provoking analysis of how teasing can result in more than simply hurting another person's feelings, told through the person of Judy, who drops a bottle of perfume, and Jack, whose thoughtless teasing takes on a life of its own, growing and drawing others into it until Judy goes beyond simple embarrassment into a crisis of self-image.

THE OUTSIDER (1951, 11:33)
Susan Jane Smith is a nice, smart, pretty young lady who cannot figure out why she is so alienated from her classmates. They ignore her because her aloofness is interpreted as being stuck up. Anyone, especially women, who lived through this period can recognize how well this film captures the heart of this matter, while anyone from any time and any place can learn from this examination of and solution to her teen age social alienation.

ROAD RUNNERS (1952, 11:46)
If only James Dean & his "Rebel Without a Cause" hoodlum friends had seen this, maybe, just maybe, they wouldn't have been playing chicken driving off cliffs & all. This community concious film seeks to educate communities on the ways in which hotrodders can go from outlaws to lawlubbers through sponsoring racing clubs and associate associations. Then again, this film had no effect on the Modesto kids in the "American Grafitti" drag racing sequence, either. As for Road Runner & Wile E. Coyote...don't even go there.

THE SHOW-OFF (1954, 11:03)
A film devoted to the class clowns, pranksters & loud-mouths of the world, seeking to analyze and bring up for discussion the appropriate reaction to such folks & their follies. Speaking as an ex-class clown, fully reformed prankster & got-me-a-bully-pulpit-for-channeling-constructively-my-still-very-loud-mouth, this film goes far in exposing just how far fifties era social problem-solving techniques were, and were not, well met.

THE TROUBLE-MAKER (1959, 11:03)
This is the story about a kid with issues - the kind that don't get resolved but rather get projected onto others for simple but malicious attention. A quality study of the kinds of real problems that the degree past class clown and prankster brings about.

WHAT ABOUT JUVENILE DELINQUENCY? (1955, 10:41)
When Jamie's gang attacks his father, he decides enough is enough & promptly becomes the leaver of the pack. He then turns tail to fight City Hall's attempts to institute a curfew intended to put a stop to his former friends' delinquent ways.

WHY VANDALISM? (1955, 16:08)
We could also properly subtitle this film "I Was A Teenage Vandal". "I" is Jeff, who himself might call this film "I Was A Teenager Outsider". What dirty dishes & households can do to a child are merely symptomatic of the lack of love and attention Jeff gets at home, but what it compels him to do at school during the day and with the malt shop gang at night creates a host of other problems that this film sincerely tries to help solve.

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