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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.
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.
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First Sentence
Dance critic Sigmund Spaeth once noted that 'the decade between 1910 and 1920 can be identified primarily as the period in which America went dance mad' (quoted in Stearns 1968: n.p.). Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index
Dance critic Sigmund Spaeth once noted that 'the decade between 1910 and 1920 can be identified primarily as the period in which America went dance mad' (quoted in Stearns 1968: n.p.). Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index
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1 of 2 people found the following review helpful
Exploring the subjected male figure in films
22 Jun 2000
Format:Paperback
For anyone who ever took a film course, we are taught via the writings of Laura Mulvey that it is the women who is subjected in film. Screening the Male provides the research conducted in examining the filp side of Mulvey's theory. This book is extremely valuable for anyone who is interested in how men are present in film.
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