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in looking at masculinity in other places because most of the literature about masculinity is about British and American men by British and American men and women’ ( 2002 : 62). Much more work remains to be done, however. What, for example, are the hegemonic and subordinate forms of masculinity in Iranian cinema? In Nigerian, or Brazilian, or Polish, or Australian cinemas? And how are such national masculinities reshaped by contact with Hollywood, or by the border-crossings that characterise cinema in the era of globalisation? STOP and THINK
