Nicholas Ray''s 1955 film Rebel Without a Cause is a globally recognised landmark of post-war American cinema. The film follows twenty-four hours in the life of troubled teen Jim Stark (James Dean), the new boy in town, who becomes drawn into a maelstrom of shifting social allegiances, emotional turmoil, and violence. Rebel tackled head-on the thorny political issue of juvenile delinquency from the perspective of the adolescents, contributed to the genesis of the teen movie, and was pivotal in bringing The Method acting style to wider audiences. Dean''s nuanced and dextrous performance as the film''s lead character was paramount in establishing the actor''s iconicity.

In his study of the film, Glyn Davis foregrounds the concept of rebellion, exploring in detail what it meant to be a rebel in the 1950s, the role that cinema has played in articulating rebellion and providing a haven for rebels, and why James Dean''s archetypal depiction of a teenage rebel has endured. Combining sharp close analysis with perceptive contextualisation, Davis scrutinises Nicholas Ray''s status as a maverick director, the challenges that The Method presented to calcified standards of performance in Hollywood, and the ways in which Rebel contributed to the shaping of new articulations of masculinity and sexuality. Ray''s film, Davis ultimately argues, has an ambiguous stance on rebellion, depicting both the lure and the terror of rejecting conformity.

Davis examines the significant contributions to Rebel Without a Cause made by an array of cast and crew members: from screenwriter Stewart Stern to composer Leonard Rosenman, from production designer Malcolm Bert to costume designer Moss Mabry, from lead actors such as Dean and Mineo to secondary players such as Marietta Canty and Edward Platt. Highlighting the film''s shifting critical reception, he unpacks its legacy and the reasons that it continues to resonate with contemporary audiences.

Nicholas Ray''s 1955 film Rebel Without a Cause is a globally recognised landmark of post-war American cinema. The film follows twenty-four hours in the life of troubled teen Jim Stark (James Dean), the new boy in town, who becomes drawn into a maelstrom of shifting social allegiances, emotional turmoil, and violence. Rebel tackled head-on the thorny political issue of juvenile delinquency from the perspective of the adolescents, contributed to the genesis of the teen movie, and was pivotal in bringing The Method acting style to wider audiences. Dean''s nuanced and dextrous performance as the film''s lead character was paramount in establishing the actor''s iconicity.

In his study of the film, Glyn Davis foregrounds the concept of rebellion, exploring in detail what it meant to be a rebel in the 1950s, the role that cinema has played in articulating rebellion and providing a haven for rebels, and why James Dean''s archetypal depiction of a teenage rebel has endured. Combining sharp close analysis with perceptive contextualisation, Davis scrutinises Nicholas Ray''s status as a maverick director, the challenges that The Method presented to calcified standards of performance in Hollywood, and the ways in which Rebel contributed to the shaping of new articulations of masculinity and sexuality. Ray''s film, Davis ultimately argues, has an ambiguous stance on rebellion, depicting both the lure and the terror of rejecting conformity.

Davis examines the significant contributions to Rebel Without a Cause made by an array of cast and crew members: from screenwriter Stewart Stern to composer Leonard Rosenman, from production designer Malcolm Bert to costume designer Moss Mabry, from lead actors such as Dean and Mineo to secondary players such as Marietta Canty and Edward Platt. Highlighting the film''s shifting critical reception, he unpacks its legacy and the reasons that it continues to resonate with contemporary audiences.