<?xml version="1.0" encoding="utf-8" standalone="yes"?>
<rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:content="http://purl.org/rss/1.0/modules/content/">
  <channel>
    <title>Coming-of-Age on The CineBlog</title>
    <link>https://thecineblog.com/tags/coming-of-age/</link>
    <description>Recent content in Coming-of-Age on The CineBlog</description>
    <generator>Hugo</generator>
    <language>en-US</language>
    <lastBuildDate>Tue, 02 Jun 2026 13:00:10 -0500</lastBuildDate>
    <atom:link href="https://thecineblog.com/tags/coming-of-age/index.xml" rel="self" type="application/rss+xml" />
    <item>
      <title>Mid90s: The Passport to a Period</title>
      <link>https://thecineblog.com/stories/mid90s/</link>
      <pubDate>Fri, 01 Mar 2024 00:00:00 +0000</pubDate>
      <guid>https://thecineblog.com/stories/mid90s/</guid>
      <description>&lt;p&gt;Digital cinema has made us lazy. When a modern filmmaker wants to shoot a period piece, they typically shoot pristine 4K digital footage and then slap a cheap, artificial grain filter over the image in post-production. It is an insulting facsimile of memory. In &lt;em&gt;Mid90s&lt;/em&gt;, director Jonah Hill and cinematographer Christopher Blauvelt understood that you cannot fake a time period; you must physically record it on the medium of that era.&lt;/p&gt;</description>
    </item>
  </channel>
</rss>
