Manhood in Hollywood from Bush to Bush

by David Greven

A struggle between narcissistic and masochistic modes of manhood defined Hollywood masculinity in the period between the presidencies of George H. W. Bush and George W. Bush. David Greven's contention is that a profound shift in representation occurred during the early 1990s when Hollywood was transformed by an explosion of films that foregrounded non-normative gendered identity and sexualities. In the years that have followed, popular cinema has either emulated or evaded the representational strategies of this era, especially in terms of gender and sexuality. One major focus of this study is that, in a great deal of the criticism in both the fields of film theory and queer theory, masochism has been positively cast as a form of male sexuality that resists the structures of normative power, while narcissism has been negatively cast as either a regressive sexuality or the bastion of white male privilege. Greven argues that narcissism is a potentially radical mode of male sexuality that can defy normative codes and categories of gender, whereas masochism, far from being radical, has emerged as the default mode of a traditional normative masculinity. This study combines approaches from a variety of disciplines—psychoanalysis, queer theory, American studies, men's studies, and film theory—as it offers fresh readings of several important films of the past twenty years, including Casualties of War, The Silence of the Lambs, Fight Club, The Passion of the Christ, Auto Focus, and Brokeback Mountain.

Genres: Film

297 pages, Hardcover

First published January 1, 2009

Reviews

[Bruce Genaro · Rating 5 out of 5]

In Manhood in Hollywood from Bush to Bush, David Greven explores Hollywood’s changing representation of manhood by comparing the theoretical treatments of narcissism and masochism through their representation in such films as Casualties of War, Fight Club, The Talented Mr. Ripley, and Brokeback Mountain, through the examination of recent articles and studies (Masochism: Coldness and Cruelty, In the Realm of Pleasure, The Power of Feelings, etc.) and through the theories of psychoanalysts, like Reik and Freud. Greven’s analysis of written texts can be academic and occasionally tedious. But when he explores the movies themselves, analyzing text and subtext, directorial choices and scores, lighting and framing, symbolism and defamiliarization, his postulations are fascinating and often revelatory. One rarely has the luxury of time to consider a film to the extent Greven does, so it’s a gift to read his insights and interpretations and then revisit these films after reading such a well-considered exploration of them. The text can be a bit dry, the constant reference to other texts distracting, and the numerous and varied examples overwhelming. While Greven’s extensive research is laudable, the book might have been stronger with fewer examples and a little more focus. Still, it’s a thesis worth reading for its relevance and for its reminder that films have the power to affect us (and influence us) in surprising (and subliminal) ways.

[Trent]

It's somewhat dense film theory but it does have some interesting things to say about the films it discusses.

[Michael · Rating 3 out of 5]

Cineaste review soon to come.