| Record ID | marc_columbia/Columbia-extract-20221130-007.mrc:336522863:2698 |
| Source | marc_columbia |
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LEADER: 02698mam a22003494a 4500
001 3337515
005 20221020043833.0
008 020315t20022002nju b 001 0 eng
010 $a 2002024110
020 $a0838639550 (alk. paper)
035 $a(OCoLC)ocm49383742
035 $9AUY7526CU
035 $a3337515
040 $aDLC$cDLC$dC#P$dOrLoB-B
042 $apcc
050 00 $aPN1995.9.M46$bM23 2002
082 00 $a791.43/081$221
100 1 $aMacKinnon, Kenneth,$d1942-$0http://id.loc.gov/authorities/names/n83152587
245 10 $aLove, tears, and the male spectator /$cKenneth MacKinnon.
260 $aMadison [N.J.] :$bFairleigh Dickinson University Press ;$aLondon ;$aCranbury, NJ :$bAssociated University Presses,$c[2002], ©2002.
300 $a221 pages ;$c25 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references (p. 208-215) and index.
505 00 $gPt. I.$tQuestions of Sex and Gender.$g1.$tSex and Gender.$g2.$tFeminism/Patriarchy/Masculinity --$gPt. II.$tMaleness/Masculinity/Spectatorship.$g3.$tGendered Identification: Fantasy, Masquerade, Readership.$g4.$tSpectatorship Theory.$g5.$tGenre and Gender: Melodrama and Soap Opera --$gPt. III.$tMaleness/Masculinity/Spectacle.$g6.$tHollywood's "Feminization" of the Male.$g7.$tThe 1950s: The United States, Hollywood, and Hitchcock.$g8.$tA Sample of Five 1950s Movies.$g9.$tToward Some Conclusions.
520 1 $a"The most popular film studies accounts of male spectatorship suggest that it is sadistic, "active," phallic. This sort of spectatorship was originally understood as a spectator position. It was not occupied by a male person. Rather, it was constructed by the film text. Over time, though, understanding of that position has changed. Now, the male spectator has begun to be conceived of as an actual male in the audience.
520 8 $aIt is difficult to continue to believe in the machismo of that male spectator when consideration is given to the fact that the love story is a significant element in such a variety of Hollywood genres. Surely a man in love is normally mastered rather than mastering. He is, as Roland Barthes has claimed, "feminized" by love. If the spectator identifies with the on-screen male, then it must to some extent be with a hero that is troubled, insecure, and anxious."--BOOK JACKET.
650 0 $aMotion pictures and men.$0http://id.loc.gov/authorities/subjects/sh99010358
650 0 $aMen in motion pictures.$0http://id.loc.gov/authorities/subjects/sh85083529
650 0 $aTelevision soap operas$xSocial aspects.
650 0 $aRadio soap operas$xSocial aspects.
852 00 $boff,leh$hPN1995.9.M46$iM23 2002