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Masculinity and Film Performance | SpringerLink
An exploration of the themes within the cinema of Gianfranco Rosi ahead of his solo retrospective at the ICA. ICA Student Forum presents a newly-commissioned work featuring a wearable virus of extreme destructive force. This website is an archive. Please visit www. Exhibitions Films Events. Type Article.
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Category Articles. Members News. Student Forum. A Losing Game: Chevalier and the Performance of Masculinity Donna Peberdy on rivalry, comedy and the deconstruction of conventional masculinity in Chevalier.
Donna Peberdy 5 Aug The bloodiest scene is also one of the most comical. Chevalier is at the ICA from 22 July.
This chapter explores some of the central tenets of performance across disciplinary boundaries and assesses their usefulness in analysing cinematic performances of masculinity. While the second part of the book will specifically examine a number of discursive moments affecting definitions of male identity that took place in the s and s, this chapter will examine, more explicitly, the role of the performer in the construction of such discursive moments.
The Wild Man was a prevalent popular cultural figure that raised questions about the state of masculinity at the start of the s, frequently appearing in self-help books, on magazine covers, in politics, and on the screen. The journal special issue acknowledged that American society increasingly encompasses a variety of family units including single-parent households, adoptive households, stay-at-home dads, and step-parenting.
Masculinity and Film Performance Male Angst in Contemporary American Cinema
A caricature of an elderly man, complete with white hair and exaggerated wrinkles, appeared on the 4 May cover of Time magazine. With one arm wrapped around a naked blonde woman, who clung to his neck in an intimate embrace, the man held a small blue pill close to his pursed lips. His eyes peered anxiously in the direction of the woman to see if she had noticed his guilty secret.
This time, a middle-aged man looked up in the air to see a flock of one-hundred dollar bills with wings fly off into the distance. First, angst is revealed as a frown, a concave expression, sad eyes, trembling hands, or a contorted face: a gesture, a series of movements, a sequence of sounds.
The chapters examine the performative nature of male identity by exploring the images and enactments of male angst that have frequently appeared in American films in the last two decades. The book not only considers the ways in which male instability has been performed both on and off screen but also reveals the constructedness of normative masculinity — itself an image consolidated and disseminated by the media.
Instead, the films and actors I discuss offer a miscellany of performance styles and demonstrate multiple tropes of male angst. Title Masculinity and Film Performance.