Beschreibung Masculine Interests: Homoerotics in Hollywood Film (Film and Culture). Until Masculine Interests not much had been written about men "as men" in the cinema. Now Robert Lang considers how Hollywood articulates the eroticism that is intrinsic to identification between men. He considers masculinity in social and psychoanalytic terms, maintaining that a major function of the movies is to define different types of masculinity, and to either valorize or criticize these forms. Focusing on several filmsÂprimarily The Lion King, The Most Dangerous Game, The Outlaw, Kiss Me Deadly, Midnight Cowboy, Innerspace, My Own Private Idaho, the Batman series, and Jerry MaguireÂLang questions the way in which American culture distinguishes between homosexual and nonhomosexual forms of male bonding. In arguing for a much more complex recognition of the homosocial continuum, he contends that queer sexuality is far more present in American cinema than is usually acknowledged.
Masculine Interests: Homoerotics in Hollywood Film Film ~ Masculine Interests: Homoerotics in Hollywood Film (Film and Culture) / Robert Lang / ISBN: 9780231113014 / Kostenloser Versand fĂŒr alle BĂŒcher mit Versand und Verkauf duch .
Masculine Interests: Homoerotics in Hollywood Film Film ~ Masculine Interests: Homoerotics in Hollywood Film (Film and Culture) / Robert Lang / ISBN: 9780231113007 / Kostenloser Versand fĂŒr alle BĂŒcher mit Versand und Verkauf duch .
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Hausarbeiten - The Masculine Identity Crisis in ~ In order to explain how masculine film studies even emerged, the chapter shortly reproduces the beginnings of gender-oriented film studies as a field of contemporary cultural studies. Then follows the description of the various masculinities, which controlled Hollywood productions during the decades to underline the staggering picture of the male contributing to a masculine identity crisis .
Concepts of Masculine Camaraderie in Films and ~ How strongly the ânarrative and visual regimes of Hollywood film arise [âŠ] fromthe problem of masculine subjectivity in patriarchyâ (Cohan/Hark 1996: 2) becomesevident in the shift of filmic masculinities between the 1980s and the 1990s, whichcoincides with the progressing crisis of masculinity that defines masculinity on film to thisday (s. 2.1.). The 1980âs had been dominated by a .
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