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A struggle between narcissistic and masochistic modes of manhood defined Hollywood masculinity in the period between the presidencies of George H. W. Bush and George W. Bush. David Greven's contention is that a profound shift in representation occurred during the early 1990s when Hollywood was transformed by an explosion of films that foregrounded non-normative gendered identity and sexualities. In the years that have followed, popular cinema has either emulated or evaded the representational strategies of this era, especially in terms of gender and sexuality. One major focus of this study is that, in a great deal of the criticism in both the fields of film theory and queer theory, masochism has been positively cast as a form of male sexuality that resists the structures of normative power, while narcissism has been negatively cast as either a regressive sexuality or the bastion of white male privilege. Greven argues that narcissism is a potentially radical mode of male sexuality that can defy normative codes and categories of gender, whereas masochism, far from being radical, has emerged as the default mode of a traditional normative masculinity. This study combines approaches from a variety of disciplines—psychoanalysis, queer theory, American studies, men's studies, and film theory—as it offers fresh readings of several important films of the past twenty years, including Casualties of War, The Silence of the Lambs, Fight Club, The Passion of the Christ, Auto Focus, and Brokeback Mountain.
This is a study of the struggle between narcissistic and masochistic modes of manhood that defined Hollywood masculinity from the late 1980s to the first decade of the 21st century.
A struggle between narcissistic and masochistic modes of manhood defined Hollywood masculinity in the period between the presidencies of George H. W. Bush and George W. Bush. David Greven's contention is that a profound shift in representation occurred during the early 1990s when Hollywood was transformed by an explosion of films that foregrounded non-normative gendered identity and sexualities. In the years that have followed, popular cinema has either emulated or evaded the representational strategies of this era, especially in terms of gender and sexuality. One major focus of this study is that, in a great deal of the criticism in both the fields of film theory and queer theory, masochism has been positively cast as a form of male sexuality that resists the structures of normative power, while narcissism has been negatively cast as either a regressive sexuality or the bastion of white male privilege. Greven argues that narcissism is a potentially radical mode of male sexuality that can defy normative codes and categories of gender, whereas masochism, far from being radical, has emerged as the default mode of a traditional normative masculinity. This study combines approaches from a variety of disciplines—psychoanalysis, queer theory, American studies, men's studies, and film theory—as it offers fresh readings of several important films of the past twenty years, including Casualties of War, The Silence of the Lambs, Fight Club, The Passion of the Christ, Auto Focus, andBrokeback Mountain.
Hard Bodies looks at some of the most popular films of the Reagan era and examines how the characters, themes, and stories presented in them often helped to reinforce and disseminate the policies, programs, and beliefs of the 'Reagan Revolution.'
This book explores the construction of male sexuality in nineteenth-century American literature and comes up with some startling findings. Far from desiring heterosexual sex and wishing to bond with other men through fraternity, the male protagonists of classic American literature mainly want to be left alone. Greven makes the claim that American men, eschewing both marriage and male friendship, strive to remain emotionally and sexually inviolate. Examining the work of traditional authors - Hawthorne, Poe, Melville, Cooper, Irving, Stowe - Greven discovers highly untraditional and transgressive representations of desire and sexuality. Objects of desire from both women and other men, the inviolate males discussed in this study overturn established gendered and sexual categories, just as this study overturns archetypal assumptions about American manhood and American literature.
Finalist for the 2017 Lambda Literary Award in the LGBT Nonfiction category presented by the Lambda Literary Foundation Ghost Faces explores the insidious nature of homophobia even in contemporary Hollywood films that promote their own homo-tolerance and appear to destabilize hegemonic masculinity. Reframing Laura Mulvey's and Gilles Deleuze's paradigms and offering close readings grounded in psychoanalysis and queer theory, David Greven examines several key films and genre trends from the late 1990s forward. Movies considered range from the slasher film Scream to bromances and beta male comedies such as I Love You, Man to dramas such as Donnie Darko and 25th Hour to Rob Zombie's remake of the horror film Halloween. Greven also traces the disturbing connections between torture porn found in such films as Hostel and gay male Internet pornography.
This collection of essays presents a sampling of film and television texts, interrogating images of U.S. masculinity. Rather than using “postfeminist” as a definition of contemporary feminism, this collection uses the term to designate the period from the late 1980s on—as a point when feminist thought gradually became more mainstream. The movies and TV series examined here have achieved a level of sustained attention, from critical acclaim, to mass appeal, to cult status. Instead of beginning with a set hypothesis on the effect of the feminist movement on images of masculinity on film and television, these chapters represent a range of responses, that demonstrate how the conversations within these texts about American masculinity are often open-ended, allowing both male characters and male viewers a wider range of options. Defining the relationship between U.S. masculinity and American feminist movements of the twentieth century is a complex undertaking. The essays collected for this volume engage prominent film and television texts that directly interrogate images of U.S. masculinity that have appeared since second-wave feminism. The contributors have chosen textual examples whose protagonists actively struggle with the conflicting messages about masculinity. These protagonists are more often works-in-progress, acknowledging the limits of their negotiations and self-actualization. These chapters also cover a wide range of genres and decades: from action and fantasy to dramas and romantic comedy, from the late 1970s to today. Taken together, the chapters of Screening Images of American Masculinity in the AgeofPostfeminism interrogate “the possible” screened in popular movies and television series, confronting the multiple and competing visions of masculinity not after or beyond feminism but, rather, in its very wake.
Bridging landmark territory in film studies, Psycho-Sexual is the first book to apply Alfred Hitchcock’s legacy to three key directors of 1970s Hollywood—Brian De Palma, Martin Scorsese, and William Friedkin—whose work suggests the pornographic male gaze that emerged in Hitchcock’s depiction of the voyeuristic, homoerotically inclined American man. Combining queer theory with a psychoanalytic perspective, David Greven begins with a reconsideration of Psycho and the 1956 remake of The Man Who Knew Too Much to introduce the filmmaker’s evolutionary development of American masculinity. Psycho-Sexual probes De Palma’s early Vietnam War draft-dodger comedies as well as his film Dressed to Kill, along with Scorsese’s Taxi Driver and Friedkin’s Cruising as reactions to and inventive elaborations upon Hitchcock’s gendered themes and aesthetic approaches. Greven demonstrates how the significant political achievement of these films arises from a deeply disturbing, violent, even sorrowful psychological and social context. Engaging with contemporary theories of pornography while establishing pornography’s emergence during the classical Hollywood era, Greven argues that New Hollywood filmmakers seized upon Hitchcock’s radical decentering of heterosexual male dominance. The resulting images of heterosexual male ambivalence allowed for an investment in same-sex desire; an aura of homophobia became informed by a fascination with the homoerotic. Psycho-Sexual also explores the broader gender crisis and disorganization that permeated the Cold War and New Hollywood eras, reimagining the defining premises of Hitchcock criticism.
Who are the "race men" standing for black America? It is a question Hazel Carby rejects, along with its long-standing assumption: that a particular type of black male can represent the race. A searing critique of definitions of black masculinity at work in American culture, Race Men shows how these defining images play out socially, culturally, and politically for black and white society--and how they exclude women altogether. Carby begins by looking at images of black masculinity in the work of W. E. B. Du Bois. Her analysis of The Souls of Black Folk reveals the narrow and rigid code of masculinity that Du Bois applied to racial achievement and advancement--a code that remains implicitly but firmly in place today in the work of celebrated African American male intellectuals. The career of Paul Robeson, the music of Huddie Ledbetter, and the writings of C. L. R. James on cricket and on the Haitian revolutionary, Toussaint L'Ouverture, offer further evidence of the social and political uses of representations of black masculinity. In the music of Miles Davis and the novels of Samuel R. Delany, Carby finds two separate but related challenges to conventions of black masculinity. Examining Hollywood films, she traces through the career of Danny Glover the development of a cultural narrative that promises to resolve racial contradictions by pairing black and white men--still leaving women out of the picture. A powerful statement by a major voice among black feminists, Race Men holds out the hope that by understanding how society has relied upon affirmations of masculinity to resolve social and political crises, we can learn to transcend them.
Argues that Alfred Hitchcock's themes of heterosexual male ambivalence and homoeroticism influence some of the films of directors Brian De Palma, Martin Scorcese and William Friedkin.