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Notes Introduction: Being a Man 1. J. M. Blanchard (1992) ‘“Glengarry” hits the screen with the joys of male angst’, The Washington Times, Arts (27 September), D1. 2. A. Solomon-Godeau (1997) Male Trouble: A Crisis in Representation (London: Thames and Hudson), p. 35; T. Modleski (1991) Feminism Without Women: Culture and Criticism in a ‘Postfeminist’ Age (New York: Routledge), p. 7. 3. M. Kimmel (1987) ‘The Contemporary “Crisis” of Masculinity in Historical Perspective’ in H. Brod (ed.) The Making of Masculinities: The New Men’s Studies (Boston, MA: Unwin and Hyman), pp. 121–53. 4. S. Faludi (1991) Backlash: The Undeclared War Against Women (London: Chatto and Windus), p. 9. 5. S. Faludi (1999) Stiffed: The Betrayal of the Modern Man (London: Chatto and Windus), p. 10. 6. Faludi, Stiffed, pp. 38–9. 7. Faludi, Stiffed, p. 608. 8. The example of prominent profeminist-turned-promale author Warren Farrell is also a case in point. See W. Farrell (1978) The Liberated Man. Beyond Masculinity: Freeing Men and Their Relationship With Women (New York: Bantam); and W. Farrell (1993) The Myth of Male Power (New York: Simon and Schuster). 9. The broad and interdisciplinary field of whiteness studies is comprised of works such as D. Roediger (1994) Towards the Abolition of Whiteness: Essays on Race, Class and Politics (New York: Verso) and bell hooks (1992) Black Looks: Race and Representation (London: Turnaround), pp. 165–78 in particu- lar. See also, R. Frankenberg (1993) White Women, Race Matters: The Social Construction of Whiteness (New York: Routledge) and T. Morrison (1993) Playing in the Dark: Whiteness and the Literary Imagination (London: Pan). 10. S. Robinson (2000) Marked Men: White Masculinity in Crisis (New York: Columbia University Press), pp. 2–3. 11. Robinson, Marked Men, pp. 10–11. 12. See A. Wierzbicka (1999) Emotions Across Languages and Cultures (Cambridge: Cambridge University Press). 13. C. K. Bellinger (2001) The Genealogy of Violence: Reflections on Creation, Freedom, and Evil (Oxford: Oxford University Press), p. 38. 14. Wierzbicka, Emotions Across Languages and Cultures, p. 127. 15. S. Cohan (1997) Masked Men: Masculinity and the Movies in the Fifties (Bloomington, IN: Indiana University Press); D. Bingham (1994) Acting Male: Masculinities in the Films of James Stewart, Jack Nicholson and Clint Eastwood (New Brunswick, NJ: Rutgers University Press); R. Sklar (1992) 174 9780230283787_09_notes.indd 174 6/13/2011 3:45:04 PM Notes 175 City Boys: Cagney, Bogart, Garfield (Princeton, NJ: Princeton University Press). 16. B. Malin (2005) American Masculinity under Clinton: Popular Media and the Nineties ‘Crisis of Masculinity’ (New York: Peter Lang); P. Gates (2006) Detecting Men: Masculinity and the Hollywood Detective Film (New York: State University of New York Press); P. Powrie, A. Davis and B. Babington (eds) (2004) The Trouble with Men: Masculinities in European and Hollywood Cinema (London: Wallflower Press); P. Lehman (ed.) (2001) Masculinity: Bodies, Movies, Culture (London and New York: Routledge); A. Klevan (2005) Film Performance: From Achievement to Appreciation (London: Wallflower Press); K. Hollinger (2006) The Actress: Hollywood Acting and the Female Star (London and New York: Routledge). 17. B. King (1985) ‘Articulating Stardom’, Screen, 26 (5), 31. 18. V. Turner (1982) From Ritual to Theatre: The Human Seriousness of Play (New York: PAJ Publications), p. 122. 19. See G. Studlar (2001) ‘Cruise-ing into the Millennium: Performative Masculinity, Stardom, and the All-American Boy’s Body’ in M. Pomerance (ed.) Ladies and Gentlemen, Boys and Girls: Gender in Film at the End of the Twentieth Century (New York: State University of New York Press), p. 176. 20. P. Drake (2006) ‘Reconceptualizing Screen Performance’, special issue on Screen Performance, Journal of Film and Video, 58 (1–2) (Spring/Summer), 93. 21. N. Gabler (1998) Life: The Movie: How Entertainment Conquered Reality (New York: Vintage), p. 5. 22. J. Naremore (1990) Acting in the Cinema (Berkeley, CA: University of California Press), pp. 5–6. 1 Performance and Masculinity 1. M. Carlson (1996) Performance: A Critical Introduction (London: Routledge), p. 2. 2. Carlson, Performance, p. 4. 3. R. Bauman (1977) Verbal Art as Performance (Rowley, MA: Newbury House), p. 4. 4. H. Bial (2007) ‘What is Performance?’ in H. Bial (ed.) The Performance Studies Reader, Second Edition (Abingdon: Routledge), p. 57. 5. R. Schechner (2007) ‘Performance Studies: The Broad Spectrum Approach’ in Bial (ed.) The Performance Studies Reader, Second Edition (Abingdon: Routledge), pp. 7–9. See also, B. Kirschenblatt-Gimblett (2007) ‘Performance Studies’ in Bial (ed.) The Performance Studies Reader, Second Edition (Abingdon: Routledge), pp. 26–31. 6. E. Goffman (1959) The Presentation of Self in Everyday Life (New York: Anchor), p. 81. 7. Goffman, The Presentation of Self in Everyday Life, p. 32. 8. Goffman, The Presentation of Self in Everyday Life, pp. 32–4, 59. 9. Goffman, The Presentation of Self in Everyday Life, pp. 37–8. 176 Notes 10. See R. Dyer (1993) ‘The Role of Stereotypes’ in The Matter of Images: Essays on Representation (London: Routledge), pp. 11–18. 11. Bauman, Verbal Art as Performance, p. 31. 12. J. Naremore (1990) Acting in the Cinema (Berkeley, CA: University of California Press), p. 70. 13. See P. R. Wojcik (2004) ‘Typecasting’ in Wojcik (ed.) Movie Acting: The Film Reader (New York: Routledge), pp. 169–90. 14. For a discussion of Pacino’s destabilised identity in Cruising see, G. Davidson (2005) ‘“Contagious Relations”: Simulation, Paranoia, and the Postmodern Condition in William Friedkin’s Cruising and Felice Picano’s The Lure’, GLQ: A Journal of Lesbian and Gay Studies 11(1), 23–64. 15. Goffman, The Presentation of Self in Everyday Life, p. 77. 16. R. Schechner (2006) Performance Studies, Second Edition (New York: Routledge), p. 43. 17. V. Turner (1982) From Ritual to Theatre: The Human Seriousness of Play (New York: PAJ Publications), p. 122. 18. M. Kirby (1972) ‘On Acting and Not Acting’, The Drama Review 16(1) (March), 3–15. 19. Goffman, The Presentation of Self in Everyday Life, p. 34. 20. Passing refers to the process whereby a person of one identity (most often applied to race, sexuality and religion), takes on or acts out a dif- ferent identity or, as M. C. Sanchez and L. Schlossberg describe, ‘passing for what you are not’. M. C. Sanchez and L. Schlossberg (2001) Passing: Identity and Interpretation in Sexuality, Race and Religion (New York: New York University Press). See also E. K. Ginsberg (ed.) (1996) Passing and the Fictions of Identity (Durham, NC: Duke University Press); G. Wald (2000) Crossing the Line: Racial Passing in Twentieth Century US Literature and Culture (Durham, NC: Duke University Press). 21. J. Butler (1990) Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge), pp. 173, 176; J. L. Austin (1955) ‘How To Do Things With Words’, The William James Lectures, Harvard University, reprinted in J. O. Urmson and M. Sbisà (eds) (1962) How To Do Things With Words: J. L. Austin (Cambridge, MA: Harvard University Press). Butler’s considera- tion of gender performativity is central to a position taken by a number of feminist critics including Marjorie Garber and Eve Kosofsky Sedgwick. See M. Garber (1992) Vested Interests: Cross-Dressing and Cultural Anxiety (New York: Routledge); E. K. Sedgwick (1990) Epistemology of the Closet (Berkeley and Los Angeles: University of California Press); E. K. Sedgwick and Andrew Parker (eds) (1995) Performativity and Performance (New York: Routledge). 22. Butler, Gender Trouble, pp. 178–9. 23. J. Butler (1999) ‘Preface 1999’ in Gender Trouble: Feminism and the Subversion of Identity, 10th Anniversary Edition (New York: Routledge), p. xxii. 24. Butler, Gender Trouble, pp. 173–8. 25. J. Butler (1993) Bodies that Matter: On the Discursive Limits of ‘Sex’ (New York, Routledge), p. 94. 26. Butler, Preface 1999, p. xxiii. Notes 177 27. T. Modleski (1991) Feminism Without Women: Culture and Criticism in a ‘Postfeminist’ Age (New York: Routledge). 28. Butler, Gender Trouble, p. 180. 29. D. Buchbinder (1998) Performance Anxieties: Re-Producing Masculinity (St. Leonards, NSW: Allen and Unwin), pp. vii, ix. 30. Buchbinder, Performance Anxieties, p. 29. 31. Buchbinder, Performance Anxieties, p. 122. 32. S. Robinson (2000) Marked Men: White Masculinity in Crisis (New York: Columbia University Press), p. 9. 33. S. Cohan (1997) Masked Men: Masculinity and the Movies in the Fifties (Bloomington and Indianapolis: Indiana University Press), p. x. 34. Cohan, Masked Men, p. 23. 35. Butler, Gender Trouble, p. 175. 36. Cohan, Masked Men, p. 33. 37. Naremore, Acting in the Cinema, p. 1. 38. P. Drake (2006) ‘Reconceptualizing Screen Performance’, Journal of Film and Video 58 (1–2) (Spring/Summer), 93. 39. B. King (1985) ‘Articulating Stardom’, Screen 26 (5), 27–50; A. Higson (1986) ‘Film Acting and Independent Cinema’, Screen 27 (3), 110–32; Naremore, Acting in the Cinema; R. Pearson (1992) Eloquent Gestures: The Transformation of Performance Style in the Griffith Biograph Films (Berkeley, CA: California University Press); V. W. Wexman (1993) Creating the Couple: Love, Marriage, and Hollywood Performance (Princeton, NJ: Princeton University Press); P. Krämer and A. Lovell (eds) (1999) Screen Acting (London and New York: Routledge); C. Baron, D. Carson and F. P. Tomasulo (eds) (2004) More Than a Method: Trends and Traditions in Contemporary Film Performance (Detroit, MI: Wayne State University Press). 40. P. Krämer and A. Lovell (1999) ‘Introduction’ in Krämer and Lovell (eds) Screen Acting, p. 4. 41. C. Geraghty (2000) ‘Re-Examining Stardom: Questions of Texts, Bodies and Performance’ in Christine Gledhill and Linda Williams (eds) Reinventing Film Studies (London: Arnold), pp. 187–195. 42. Geraghty, ‘Re-Examining Stardom’, p. 195. 43. R. Dyer (1979) Stars (London: British Film Institute), p. 134. 44. P. R. Wojcik (2006) ‘The Sound of Film Acting’, Journal of Film and Video 58 (1–2) (Spring/Summer), 73.
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  • The New Hollywood Films

    The New Hollywood Films

    The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d.