Urban versus rural in City Slickers and Hunter’s Blood
This chapter builds on my previous interests in the
cinematic countryside and in constructions of urban and rural
masculinities (Bell, 1997 ; 2000 ). It seeks to make a modest contribution to the growing body
of work on gender and the rural, and more specifically on the
relationships between rurality and masculinity (for an overview, see
Little, 2002 ). My aim (to borrow from Rachel
career to date (the 1980s
and 1990s), focus thematically and generically upon male relationships and
foreground certain male actors (Jean Rochefort, Alain Delon, Jean-Paul
Belmondo) in such a way as to contribute to, exploit or skew their existing
star images. In his choice of generic mode, cast and subject matter, Leconte
puts masculinity relentlessly on display.
It is my contention that Leconte’s films demonstrate ways
This article considers the allusions to classical statuary in Matthew G. Lewis’s
novel The Monk (1796) and his Journal of a West India
Proprietor Kept during a Residence in the Island of Jamaica (1816).
Drawing on John Barrell’s account of civic discourse on the fine arts after
Shaftesbury, I explain and contextualise the centrality of the Venus de’ Medici
statue to Lewis’s representations of male desire and male virtue. Images of
Venus, both in The Monk and in the Journal,
function as tests of civic virtue and articulate the conditions of Lewis’s
entitlement to hold and govern slaves in Jamaica. Lewis’s colonial inheritance
underpins the narratives of desire in The Monk, and inflects
his authorship more generally.
rightwing discourses relating to France’s postcolonial others continue to
encapsulate the fears and anxieties of the majority white population, the
representations of such marginalised masculinities are of crucial
Like the first beur films of the 1980s and most of the
banlieue films of 1995, La Haine foregrounds a group of disaffected,
unemployed working-class youths at an age when they would normally aspire to adult
Masculinity and Perversity in Crash and Fight Club
This article considers two evocations of the Gothic in contemporary film that link the popular recurrence of Gothic conventions to contemporary constructions of perversity and masculinity. Crash (1996) and Fight Club (1999) intersect themes of masculine perversity with the Gothic, giving substantially new life to discourses surrounding a ‘crisis in masculinity’ at the turn of the twentieth century. The relationship between the Gothic and masculinity is considered in relation to themes surrounding the corporeal, psychological and social ‘perversities’ in the two films.
Homosocial Sins and Identity in Horace Walpole‘s The Castle of Otranto
Readings of William Beckford‘s novel Vathek suggest it encodes homoerotic desire and suspect masculinity in its themes and narrative structure when read alongside the life of the author. Horace Walpole‘s The Castle of Otranto can be read with the same methodology. The narratives of identity reversal, both gender and social, and its tropes of hyperbolic masculinity as sources of fear are interpreted according to the central importance gender has for understanding Walpole‘s conception of his sexuality. The novel exhibits a fear of gossip and rumour over identity, which may be related to a fear of public exposure of homoerotic desire as it is (mis)understood in terms of same-sex practice between men.
In Alien3 Lt Ellen Ripley finds herself in a nightmare scenario. She has crash-landed on an abandoned prison planet, ‘Fury 161’, surrounded by a remnant of the inmate population (twenty-five prisoners, a medical officer and two administrators who have opted to remain in a care-taking capacity after the prison/refinery was closed). The prisoners are a violent group of rapists and murderers with double-y chromosome coding, who can only seem to control their excessive expressions of masculinity by fanatically embracing a fundamentalist religion. Ripley sums up the group as ‘a bunch of lifers who found God at the ass-end of space’. On one level, this setting begs for a story of male homosexuality: an all-male prison planet filled with sexual aggressors could be the recipe for a gay male porn classic. Instead, it becomes a tale of excessive masculinity manifested through heterosexual fears and desires. I want to take this discrepancy between homo-possibilities and hetero-manifestations as my point of departure to explore how Alien3s engagement with the Gothic diverts and expresses anxieties about queer masculinity, desire, and sexuality.
The author reviews Barry Jenkins’s 2018 film adaptation of
Baldwin’s novel, If Beale Street Could Talk, finding
that Jenkins’s lush, painterly, and dreamlike visual style successfully
translates Baldwin’s cadenced prose into cinematic language. But in
interpreting the novel as the “perfect fusion” of the anger of
Baldwin’s essays and the sensuality of his fiction, Jenkins overlooks the
novel’s most significant aspect, its gender politics. Baldwin began
working on If Beale Street Could Talk shortly after being
interviewed by Black Arts poet Nikki Giovanni for the PBS television show,
Soul!. Giovanni’s rejection of Baldwin’s
claims that for black men to overcome the injuries of white supremacy they
needed to fulfill the breadwinner role prompted him to rethink his understanding
of African American manhood and deeply influenced his representation of the
novel’s black male characters. The novel aims to disarticulate black
masculinity from patriarchy. Jenkins’s misunderstanding of this aspect of
the novel surfaces in his treatment of the character of Frank, who in the novel
serves as an example of the destructiveness of patriarchal masculinity, and in
his rewriting of the novel’s ending.
This article examines Pat Barker‘s novel Another World (1998) in order to argue that it portrays the masculine subject as precarious and unstable. This is linked to the novels regional setting, in which traditional ‘heavy’ industries such as armaments manufacturing are in decline, thus depriving men of an authoritative public and private role. Viewed from the perspective of postfeminism, this might be regarded as a sign that male (and female) roles can be renegotiated in order to achieve greater gender equality. However, Barker‘s frequent references to Gothic texts renders this crisis sinister and uncanny. This paper uses references to Nicolas Abraham‘s essay ‘Notes on the Phantom’ in order to assert that Another World‘s preoccupation with murder and haunting reveals a compulsive desire to cover up this sense of ‘lack’ that Barker implies characterises modern masculine subjectivity.
This paper explores the role and function of the Marvel film‘s Loki as a Gothic
antagonist. Loki‘s characterisation incorporates several Gothic themes. As a shapeshifter,
he corresponds with the idea of the unstable and fragmented body, also found in Gothic
texts dealing with supernatural transformations. By breaking down the barriers between the
realms of Asgard, Earth and Jotunheim, Loki engages with tropes surrounding Gothic space,
where borders and boundaries are permeable. Finally, Loki is Othered by his association
with the feminine and queer Gothic, something that ultimately leads to another common
Gothic theme, that of madness.