A Thematic Analysis of Collective Trauma and Enemy Image Construction in the 1980s American Action Film
During the 1980s the spectre of the Vietnam War haunted the sites of cinema and popular culture in various forms. Whereas a rich body of scholarly research exists on cinematic iterations of the Vietnam war as trauma, the discursive dynamics between memory, ideology and genre in relation to enemy image construction are somewhat underdeveloped. This article utilises genre studies, conflict studies and trauma theory in analysing how the representations of film villains interact with the construction of cultural trauma and national identity. Considering the American action thriller to be an important site for processes of commemoration and memorialisation, the discursive construction and formal articulation of national trauma are theorised within the genre. Additionally, a thematic and textual analysis was conducted of a sample of forty American action thriller films. The analysis illustrates how the genre operates through a structure of violent traumatisation and heroic vindication, offering a logic built on the necessity and legitimacy of revenge against a series of enemy-others.
in no small measure to the influence of the
filmmakers discussed here, images of a plural multi-ethnic France are no longer
relegated to the margins of French cinema, but are now regularly visible in the
mainstream. Across a range of comedies and dramas, actionfilms and auteur
films, beur and black actors are able to embody characters who are not
exoticised or demonised (though this phenomenon has not completely disappeared)
but whose interactions with
-Zaïmèche, Yamina Benguigui (born in 1957 in
Lille), Zakia Bouchaala, Lyèce Boukhitine and Chad Chenouga have all made
their first feature films – and their films offer a wider range of styles
and representations. Whilst some filmmakers aspire to enter the mainstream, others
continue to produce personal, low-budget, often semi-autobiographical films. This
chapter focuses on the beur -authored films of 2001 and 2002, grouped into,
first, potentially mainstream actionfilms
Richard Attenborough has long been recognised as a significant figure in British cinema history and film culture. After his screen debut in the war-time film In Which We Serve, Attenborough's cinema career developed through acting and later through producing and directing to become one of the industry's most renowned figures. Concentrating on his work behind the camera, this book explores his initial role as a producer, including his partnerships with Bryan Forbes in Beaver Films and with Allied Film Makers. Attenborough's own belief and affection for the genre has arguably been responsible for establishing the biopic within the pantheon of recent British cinema. Thus Young Winston captures elements from the action and historical genres, Gandhi and Chaplin from the political and historical, and Cry Freedom the political and action film. Shadowlands combines the heritage, historical and romance, In Love and War the historical, romance and war and Grey Owl the historical and nature/conservation film. A similar fusion of genres can be detected in Attenborough's two war films which both offer an anti-war revisionist perspective. Oh! What a Lovely War merges the historical and action genres, while A Bridge Too Far, in contrast, is a serious and vivid portrayal of war merging with the historical and action genres. Closing the Ring, although based on a true story, merges fiction and reality within a romantic setting.
Identity is often regarded as something that is possessed by individuals, states, and other agents. In this edited collection, identity is explored across a range of approaches and under-explored case studies with a view to making visible its fractured, contingent, and dynamic features. The book brings together themes of belonging and exclusion, identity formation and fragmentation. It also examines how identity functions in discourse, and the effects it produces, both materially and in ideational terms. Taking in case studies from Asia-Pacific, Europe, the Middle East and Latin America, the various chapters interrogate identity through formal governing mechanisms, popular culture and place. These studies demonstrate the complex and fluid nature of identity and identity practices, as well as implications for theorising identity.
This book is about people willing to do the sorts of things that most others couldn't, shouldn't or wouldn't. While there are all sorts of reasons why people consume substances, the author notes that there are those who treat drug-taking like an Olympic sport, exploring their capacity to really push their bodies, and frankly, wanting to be the best at it. Extreme athletes, death-defiers and those who perform incredible stunts of endurance have been celebrated throughout history. The most successful athletes can compartmentalise, storing away worry and pain in a part of their brain so it does not interfere with their performance. The brain releases testosterone, for a boost of strength and confidence. In bondage, discipline, sadism and masochism (BDSM) play, the endogenous opioid system responds to the pain, releasing opioid peptides. It seems some of us are more wired than others to activate those ancient biological systems, be it through being caned in a dungeon during a lunchbreak or climbing a sheer rock wall at the weekend. Back in 1990, sociologist Stephen Lyng coined the term 'edgework', now frequently used in BDSM circles, as 'voluntary pursuit of activities that involve a high potential for death, physical injury, or spiritual harm'.
The archive has assumed a new significance in the history of sex, and this book visits a series of such archives, including the Kinsey Institute’s erotic art; gay masturbatory journals in the New York Public Library; the private archive of an amateur pornographer; and one man’s lifetime photographic dossier on Baltimore hustlers. The subject topics covered are wide-ranging: the art history of homoeroticism; casual sex before hooking-up; transgender; New York queer sex; masturbation; pornography; sex in the city. The duality indicated by the book’s title reflects its themes. It is an experiment in writing an American sexual history that refuses the confines of identity sexuality studies, spanning the spectrum of queer, trans, and the allegedly ‘normal’. What unites this project is a fascination with sex at the margins, refusing the classificatory frameworks of heterosexuality and homosexuality, and demonstrating gender and sexual indecision and flexibility. And the book is also an exploration of the role of the archive in such histories. The sex discussed is located both in the margins of the archives, what has been termed the counterarchive, but also, importantly, in the pockets of recorded desire located in the most traditional and respectable repositories. The sexual histories in this book are those where pornography and sexual research are indistinguishable; where personal obsession becomes tomorrow’s archive. The market is potentially extensive: those interested in American studies, sexuality studies, contemporary history, the history of sex, psychology, anthropology, sociology, gender studies, queer studies, trans studies, pornography studies, visual studies, museum studies, and media studies.
Despite his firm grounding in
the actionfilm genre, Jason Statham is a star brand constructed and
constituted at the intersection of the film, videogame and
promotional industries. Outside of the multiplex cinema, Statham’s
image proliferates in posters, trailers, websites, billboards and
print features promoting the latest releases
dramas, comedies and actionfilms à la française that tend to overlay
national traits onto the international conventions of established genres. In
contrast, such a body of work as Denis’ testifies to a rare ability
to go beyond pastiche, nostalgia and repetition to embrace pluralism and
fragmentation and the thematic and stylistic potentials of a cinema of
differences. In this way
Chelios (Statham) carries on fighting in a mass
brawl while he is on fire and Transporter 3 (2008: Megaton)
when Frank/Statham drives a car onto a moving train. This
established screen persona is central to the comedy and action of
Spy and the performance of Statham within the film
subverts expectations of genre and gender within actionfilms. This
chapter will examine how