Download Contemporary Hollywood Masculinities: Gender, Genre, and by Susanne Kord PDF

By Susanne Kord

Kord and Krimmer examine the commonest male forms - law enforcement officials, killers, fathers, cowboys, superheroes, spies, squaddies, rogues, fanatics, and losers - via tracing altering techniques of masculinity in renowned Hollywood blockbusters from 1992 to 2008 - the Clinton and Bush eras - opposed to a backdrop of up to date political occasions, social advancements, and renowned American myths. Their in-depth research of over sixty movies, from The Matrix and Iron guy to Pirates of the Caribbean and The Lord of the jewelry, exhibits that videos, faraway from being mere leisure, reply on to modern day social and political realities, from consumerism to "family values" to the conflict on Terror.

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The basis for these jokes is, of course, the assumption that nobody believes him—or perhaps his job simply does not appear all that outrageous in a society marked by violence. The use of business language and the general willingness to accept Martin’s work as a job like any other, straight-faced and without missing a beat, have a “normalizing” effect. The humor relies on the difference between the film’s version of reality and the audience’s, since from the audience’s presumed perspective, it is obviously absurd to accept professional killing as nothing out of the ordinary.

Production Budget: $25 million. The sensitive New Man is by no means the most prevalent father type in the movies, but he has attracted the lion’s share of scholarly literature on cinematic fatherhood. Following the lead of Tania Modleski’s influential Feminism Without Women, numerous critics have pointed out that men’s annexation of “feminine” qualities such as tenderness, gentleness, nurturing, devotion, and so forth can be read as a “colonization of femininity”10 with the aim of “reproducing white patriarchal hegemony” (Davies and Smith 18).

Moreover, the NSA agents Lardner (Hank Azaria) and McCullers (K. Todd Freeman), whom Grocer has hired to kill Martin, are far more sadistic than the level-headed Martin. Following Martin around in their car, they plan the details of the kill with a relish that is commonly attributed only to 27 L AW L E S S N E S S A N D D I S O R D E R serial killers. The only difference between the agents and Martin is a thin veneer of legitimacy provided by their institutional affiliation: McCullers. Man, why don’t we just do his job so we can do our job and get the fuck out of here?

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