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Screening the male re-examines the problematic status of masculinity both in Hollywood cinema and feminist film theory. Classical Hollywood cinema has been theoretically established as a vast pleasure machine, manufacturing an idealized viewer through its phallocentric ideological apparatus. Feminist criticism has shown how difficult it is for the female viewer to resist becoming implicated in this representational system. But the theroies have overlooked the significance of the problem itself - of the masuline motivation at the core of the system. The essays here explore those male characters, spectators, and performers who occupy positions conventionally encoded as "feminine" in Hollywood narrative and questions just how secure that orthodox male position is. Screening the Male brings together an impressive group of both established and emerging scholars from Britain, the United States and Australia unified by a concern with issues that film theorists have exclusively inked to the femninie and not the masculne: spectacle, masochism, passivity, masquerade and, most of all, the body as it signifies gendered, racial, class and generatonal differences. eBook available with sample pages: 0203142217
Screening the male re-examines the problematic status of
masculinity both in Hollywood cinema and feminist film theory.
Classical Hollywood cinema has been theoretically established as a
vast pleasure machine, manufacturing an idealized viewer through
its phallocentric ideological apparatus. Feminist criticism has
shown how difficult it is for the female viewer to resist becoming
implicated in this representational system. But the theroies have
overlooked the significance of the problem itself - of the masuline
motivation at the core of the system. The essays here explore those
male characters, spectators, and performers who occupy positions
conventionally encoded as "feminine" in Hollywood narrative and
questions just how secure that orthodox male position is. Screening
the Male brings together an impressive group of both established
and emerging scholars from Britain, the United States and Australia
unified by a concern with issues that film theorists have
exclusively inked to the femninie and not the masculne: spectacle,
masochism, passivity, masquerade and, most of all, the body as it
signifies gendered, racial, class and generatonal differences.
The fifties marks the moment when a heterosexual/homosexual
dualism came to dominate U.S. culture s thinking about masculinity.
The films of this era record how gender and sexuality did not
easily come together in a normative manhood common to American men.
Instead these films demonstrate the widely held perception of a
crises of masculinity. Masked Men documents how movies of the
fifties represented masculinity as a multiple masquerade. Hollywood
s star system positioned the male actor as a professional performer
and as a body intended to solicit the erotic interest of male and
female viewers alike. Drawing on publicity, poster art, fan
magazines, and the popular press as a means of following the links
between fifties stars, their films, and the social tensions of the
period, Cohan juxtaposes Hollywood s narratives of masculinity
against the personae of leading men like Cary Grant, Humphrey
Bogart, John Wayne, Charlton Heston, Yul Brynner, William Holden,
Montgomery Clift, Marlon Brando, and Rock Hudson. Masked Men
focuses on the gender and sexual masquerades that organized their
performances of masculinity on and off screen."
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