To date, masculinity has tended to be presented in cinema studies as a monolithic category that serves the interests of a hegemonic, normative patriarchy. This book demonstrates how the art-house film, in the form of personal cinema and its exploitation of the melodramatic mode, tells a different story, presenting a vision of masculinity that is sexually fluid, fragmented, unstable, and often incapacitated to the point of paralysis, being undermined not only from within, but also by external circumstance. Hollywood, in the ...
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To date, masculinity has tended to be presented in cinema studies as a monolithic category that serves the interests of a hegemonic, normative patriarchy. This book demonstrates how the art-house film, in the form of personal cinema and its exploitation of the melodramatic mode, tells a different story, presenting a vision of masculinity that is sexually fluid, fragmented, unstable, and often incapacitated to the point of paralysis, being undermined not only from within, but also by external circumstance. Hollywood, in the form of "male weepies," offered preliminary insights into this failing masculinity, but it is with the flowering of Post-World War II art film and its subsequent movement into the "indie" waves of the late 20th century and the early 21st century that cinema more profoundly realizes its potential to serve as a vehicle for the exploration of men's interior lives, developing what might be termed the "male melodrama," the correlative of the woman's film. The present volume offers a series of essays that reassess the role of melodrama in a number of touchstone films in the art-cinema tradition that explore the subjective experience of a male protagonist, announcing the emergence of a genre that has progressively proliferated in contemporary cinema. While these films, made by such notable auteurs as Vittorio De Sica, Satyajit Ray, Vincente Minnelli, Pier Paolo Pasolini, Ingmar Bergman, Fran�ois Truffaut, Jacques Demy, Rainer Werner Fassbinder, and Luca Guadagnino have been frequently discussed as outstanding examples of art films, to date, with a few exceptions, they have not been examined in terms of their representation of gender and subjectivity, which has left a lacuna in accounts of screened masculinities.
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