By Steve Cohan, Ina Rae Hark
ISBN-10: 0415077591
ISBN-13: 9780415077590
Screening the male re-examines the challenging prestige of masculinity either in Hollywood cinema and feminist movie theory.
Classical Hollywood cinema has been theoretically demonstrated as an enormous excitement laptop, production an idealized viewer via its phallocentric ideological gear. Feminist feedback has proven how tricky it's for the feminine viewer to withstand changing into implicated during this representational method. however the theroies have missed the importance of the matter itself - of the masuline motivation on the center of the process. The essays right here discover these male characters, spectators, and performers who occupy positions conventionally encoded as "feminine" in Hollywood narrative and questions simply how safe that orthodox male place is.
Screening the Male brings jointly a powerful team of either demonstrated and rising students from Britain, the USA and Australia unified by way of a priority with matters that movie theorists have completely inked to the femninie and never the masculne: spectacle, masochism, passivity, masquerade and, so much of all, the physique because it indicates gendered, racial, classification and generatonal ameliorations.
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Additional resources for Screening the Male: Exploring Masculinities in the Hollywood Cinema
Example text
In the wake of his appearance in The Four Horsemen of the Apocalypse, Valentino’s extratextual persona was constructed squarely within the terms applied to male dancers, and his career as a dancer was simultaneously disavowed and exploited in fan magazines and film promotion. As early as 1922, Motion Picture Magazine published an article, ‘The Perfect Lover,’ which described Valentino in terms that both cater to the fascination with the tango pirate and simultaneously attempt to defuse Valentino’s transgression of American gender norms.
As with Valentino, the dangerous ‘Latin gigolo’ aspect of Maurice’s appeal was inseparable from his association with dances (like the tango and apache) that played out ritualized extremes of sexual domination and submission. It was no surprise then that Maurice was regarded as a ‘tiger’ for women to ‘both desire and fear’ (Erenberg 1981:165), an ambivalence of response later exploited with even greater success in Valentino’s career. 5 Public discourse usually cited moral concerns behind the demand that suggestive and barbaric dances be cleaned up.
For further elaboration of these two related points see Safouan (1981). BIBLIOGRAPHY Bellour, R. (1975) ‘Le Blocage Symbolique,’ Communications 23: 235–350. Caughie, J. and Skirrow, G. (1982) ‘Ahab, Ishmael, and…Mo,’ Screen 23, 3–4: 54–9. 19 STEVE NEALE Cook, P. ’ Screen 23, 3–4: 39–46. Ellis, J. (1982) Visible Fictions, London: Routledge. Modleski, T. (1982) ‘Film Theory’s Detour,’ Screen 23, 5: 72–9. Mulvey, L. (1975) ‘Visual Pleasure and Narrative Cinema,’ Screen 16, 3: 6–18. ____ (1981) ‘Afterthoughts…Inspired by Duel in the Sun,’ Framework 15–17: 12–15.
Screening the Male: Exploring Masculinities in the Hollywood Cinema by Steve Cohan, Ina Rae Hark
by Kenneth
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