By Susanne Kord
Kord and Krimmer examine the most typical male varieties - law enforcement officials, killers, fathers, cowboys, superheroes, spies, squaddies, rogues, fanatics, and losers - via tracing altering recommendations of masculinity in renowned Hollywood blockbusters from 1992 to 2008 - the Clinton and Bush eras - opposed to a backdrop of latest 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, indicates that video clips, 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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Extra resources for Contemporary Hollywood Masculinities: Gender, Genre, and Politics
Doesn’t work like that. You gotta wait until the bad guy kills the good guy. Then when you kill the bad guy, you’re the good guy. McCullers. So—just to clarify: if we do his job, we’re the bad guys. And if we do our job, we’re the good guys. Lardner. Yes. McCullers. That’s great. S. government to go into business for himself: In the beginning, you know, it matters, of course, that you have something to hang onto, you know, a speciﬁc ideology to defend. Right? I mean, “taming unchecked aggression,” that was my personal favorite.
Fallen is a demonic possession ﬁlm that pits the fallen angel Azazel, who can inhabit human beings at will, against the good-guy cop John Hobbes (Denzel Washington). From the beginning, the ﬁlm portrays Hobbes as a man of rare incorruptibility. In the following conversation with the brother cops Lou (James Gandolﬁni) and Jonesy (John Goodman), Hobbes is deﬁned as a “fuckin’ saint”: Lou. You’re an unusual cop, Hobbes. [ . . ] I’ve been in this precinct about what, ﬁve, six months? Everybody says, “Hobbes don’t take no cream.
May be in jail, but he has no trouble recruiting new followers after the loss of his disciple Peter Foley; the ﬁnal scene shows him enlisting the next serial killer-in-training by letter. ” In a genre that used to be all about solving crime, we are now presented with any number of “unsolvables”: endemic crime; endemic corruption (Cop Land ); sociopathy (Collateral; A History of Violence); psychopathy (Identity, 2003); the problems created by an overreliance on or abuse of technology (I, Robot).
Contemporary Hollywood Masculinities: Gender, Genre, and Politics by Susanne Kord
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