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Scoring Statham
Shelley O’Brien

Crank (2006) and Crank: High Voltage (2009) feature Jason Statham as the seemingly invincible hitman, Chev Chelios. The riotous premise in both films – a race against time to stay alive due to (a) an injection of lethal poison; and (b) having his heart removed and replaced with a battery-powered one – is scored accordingly. Both films are styled as videogame narratives, and the music scoring functions to emphasise, simultaneously, the rapid pace of the outlandish proceedings and the witty, hardman persona of Statham. This chapter will present a close analysis of both scores and highlight how they operate in relation to the narrative and as sonic signifiers of Statham's image.

in Crank it up
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Jason Statham: star!

This book offers an investigative analysis into the post-millennium rise to global stardom of British actor, Jason Statham.

It presents original ideas focusing on new notions about film and cult actor stardom and celebrity. Using in-depth analysis of Statham’s work across a range of multimedia platforms, including chapters dedicated to his film, pop promo, videogaming and tabloid persona, each essay will present this British actor as a postmodern phenomenon in a quickly changing media world.

Chapters include: new ideas about the reframing of post-millennial British film masculinity; Statham as an anti-hero; his videogaming work; investigations into his art films; the music of Crank; Statham’s clothes in his modelling, pop promo and film work; work across a variety of genres; his ensemble approach in The Expendables, and how he ages in that franchise; and a personal essay from Statham’s director of Spy – Paul Feig.

The book is written in a fluid and approachable style but would be of particular benefit to students of film, stardom, celebrity, gender and social studies. Its approach will also appeal to the general member of the public and fan of Jason Statham.

Contributors include Professor Robert Shail (Stanley Baker and Children’s Film Foundation) Professor James Chapman (James Bond), Dr Steven Gerrard (Modern British Horror and the Carry On films) and Hollywood film director Paul Feig.

Jason Statham, fandom and a new type of (anti) hero
Renee Middlemost

Jason Statham’s work has seen his career trajectory rise from bit-part player to major film star. His roles are often defined into Richard Dyer’s ‘star persona’ categories of hero or bad guy, for example with Homefront where he plays a father/hero, or in Furious 7 where he plays the villain. However, many of his roles see him as an anti-hero, trying to make it in a tough and cynical world. Increasingly, this persona as anti-hero has meant that Statham’s work now translates across media. He voices characters in videogames Call of Duty and Red Faction II, and was used as the model for the villain, Vulture in The Ultimate Spiderman. But he also has a clean-cut image, which overturns his ‘usual’ persona. He has celebrity branding that endorses Audi cars, French Connection clothing, Gazprom G-Energy and even Kit Kat chocolate.

So just what is Jason Statham’s appeal? This chapter will discuss ways in which fandom, celebrity culture and cult outlooks can unravel the complexities of the ‘normal’ Jason Statham persona in terms of his appeal to both niche and wider audiences.

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Steven Gerrard and Robert Shail

With his chiselled features, mock-cockney mid-Atlantic accent, toned physique and steely gaze, Jason Statham has a right to the title of Britain’s current leading male movie star. From growing up as the son of a market stallholder, becoming a competing member of Britain’s National Diving Squad at the 1990 Commonwealth Games, and selling perfume on a street corner in London, Statham has risen through the ranks of supporting roles to become a global film star in his own right.

His career has been varied. He has been a model, pop video Adonis, bit-part actor, cameo actor and now mainstream film star. He has charisma, and a screen presence that demanded he could be a star, to become a recognisable and bankable box office name, making the leap into Hollywood blockbuster action movies.

In an era when British actors have come to represent the villains in comic book franchises, donned costume in period films and reflected Britain’s collapsing social structure in gritty dramas, Statham remains Statham: tough, sardonic and chisel-jawed. By placing the actor into his context, this edited collection will examine the phenomenon that is Jason Statham. The introduction sets the tone for this investigation into the Statham-phenomenon.

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The cult persona of Jason Statham, Hollywood outsider
Jonathan Mack

Jason Statham does not generally rely on subcultural capital or niche appeal to support his celebrity status. Nevertheless, he has cultivated an image as a Hollywood outsider, and attained an uncommon level of perceived authenticity among audiences. It is possible to see Statham as one of the most successful cult film stars of recent years. From his streets-to-screen backstory to his reputation for performing his own stunts and his brutal honesty in interviews, Statham’s apparent detachment from Hollywood is critical to much of his mainstream success and makes him an ideal figure for the metareferential appeal of The Expendables and the Fast and Furious franchises.

Statham has transitioned from capable, comedic everyman to invincible action hero while maintaining enough self-awareness to play with his own public perception by taking roles like that of the incompetent Rick Ford in Spy. This is a journey that parallels the Fast and Furious series, which has transformed from low-key crime drama into excessive action spectacle bordering on self-parody, also appreciated as knowing and self-reflexive enough to be set apart from his contemporaries. This chapter will argue that such qualities allow Statham to enjoy both mainstream and cult stardom, which are not mutually exclusive.

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Subverting genre and gender
Clare Smith

Connery … Lazenby … Moore … Dalton … Brosnan … Craig … and now … STATHAM!

The hunt for the new James Bond is on. With a huge panoply of actors – British or otherwise – to choose from, Ian Fleming’s super-secret spy must always retain a certain charm to win over a public used to seeing the toughest of secret agents battling it out on the silver screen. While names like Tom Hiddlestone, Daniel Lewis and Idris Elba garner much media attention, one man has constantly been left out. Yet he has all the qualities to make a great James Bond. Who? Jason Statham. And he has already played a secret agent on the big screen…

In the 2015 film Spy Jason Statham played… Jason Statham. As the incompetent Rick Ford, Statham’s role is a combination of every character he has ever played from Lock, Stock and Two Smoking Barrels to Crank to The Transporter.

Although he has become an alpha-male screen archetype, his role in Spy undermines and transforms that archetype. This genre-focused chapter will deconstruct the film Spy in terms of its linkage to the spy genre, and in particular Statham’s role as a new, incompetent version of James Bond, in which the film not only brings the attitudes and genre tropes that the audience expects but then subverts them.

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Paul Feig

Jason Statham is a film star. As a film director working in Hollywood, Paul Feig cast him in one of his comedies: Spy. Known mostly for his work as a tough guy, Statham showed real comedic talent.

This chapter – a personal essay – explains why his director chose him for the role of incompetent British spy, Rick Ford.

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Jason Statham as postmodern hero
Robert Shail

The appearance of the tough guy in British cinema might be traced back to the success of Stanley Baker from the late 1950s onwards. He paved the way for other working-class heroes such as Michael Caine, Bob Hoskins and Ray Winstone who redefined masculinity in British film culture. Drawing on Richard Dyer's concept of star types, this chapter will look at how the British tough guy has transformed in recent years to arrive at the postmodern pastiche of Jason Statham. What does this development tell us about changing notions of the masculine on-screen?

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National identity in The Transporter trilogy
Jennie Lewis-Vidler

Jason Statham and arthouse cinema; an intriguing concept seemingly made up of two mutually incompatible elements. There is, however, far more to it than what you might think. Yes, Statham has churned out action movies for nearly two decades now and has made a lot of money from franchises such as The Transporter, Crank, The Expendables and Fast and Furious; however, look a little more closely at his CV and there are some ’interesting’ little films that allow glimpses of another Jason Statham; an alternative Jason Statham, if you will. The actor’s CV contains such left-field efforts as the yuppie-in-peril thriller London (2005), Gela Babluani’s Hollywood remake of his debut feature Tzameti (2006), 13 (2010) and Hummingbird (2013) a striking little film that exploits Statham’s hardman image while completely subverting it at the same time. Time, perhaps, to reconsider this actor and his work.

in Crank it up
Brian McFarlane

Chapter 2 offers a necessary account of the film’s narrative content and how this is structured. It also deals with Coward’s uncredited contribution to the screenplay. Though the war is not mentioned, and the period of the film is unspecified, its resonance in relation to the months near the end of the war is considered here in a general atmosphere of emotions being submitted to more than usual strain. Matters of class, the casting of Celia Johnson and Trevor Howard and the critical reception are also raised here against the 1945 background. When it was first released, the film did not attract universal plaudits, but it did find some national and international critical favour.

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