DOCSLIB.ORG

The Lads from New Ireland: a Textual and Audience Analysis of Marginalised Masculinities in Contemporary Irish Film

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Lads from New Ireland: a Textual and Audience Analysis of Marginalised Masculinities in Contemporary Irish Film The Lads from New Ireland: a Textual and Audience Analysis of Marginalised Masculinities in Contemporary Irish Film Debbie Ging B.A., M.A. This thesis is submitted to Dublin City University for the award of PhD in the Faculty of Humanities and Social Sciences 2006 School of Communications Supervisor: Dr. Barbara O’Connor I hereby declare that this material, which I now submit for assessment on the programme of study leading to the award of PhD is entirely my own work and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my own work. Signed:1: ID No: 95160906 Date: 0 ^ / ° f 10 6 Acknowledgements This thesis is dedicated to my mother, Olive Lillian Nichols. I am indebted to my supervisor, colleague and friend, Dr. Barbara O’Connor, who has been supportive, encouraging and patient, always in the right measure. Although they remain unidentified, I owe a huge debt of gratitude to the boys and men who agreed to participate in this research. I am also extremely grateful to the group leaders and coordinators who facilitated the focus groups and who supported me in every way possible. I am especially grateful to the Gender Equality Unit of the Department of Science and Education, which part-funded the completion of this thesis, and in particular to Rhona McSweeney and Maureen Bohan for their support and encouragement. The Gender Equality Unit was established under the NDP (2000-2006) and is co-funded by European Structural Funds. Thanks to the Head of the School of Communications, Brian Trench, for giving me breathing space when I most needed it. Thanks to my colleague Dr. Pat Brereton for constructive feedback and moral support. I am also grateful to Dr. Maggie Gibbon, Dr. Eithne O’Connell and Prof. Luke Gibbons for inspiring and encouraging me to pursue an academic career. Without them I would never have ended up doing this. Thanks also (Tor technical, academic, archival and moral support) to: Dr. Diog O’Connell, Dunlaoire Institute of Art, Design and Technology Dr. Maeve Connolly, Dunlaoire Institute of Art, Design and Technology Julie Allen, DCU Humanities Librarian Eoin Campbell, School of Communications Technician Sunniva O’Flynn, the Irish Film Archive Edwina Forkin, Zanzibar Films Michael Garland, Grand Pictures Gareth Ivory, RTE Audience Research Department Lance Daly, Fastnet Films Macdara Kelleher, Fastnet Films Moira Horgan, Bord Scannan na hEireann / the Irish Film Board Finally, I would like to thank my partner and soul-mate of 15 years, Tom Cahill, and my children Marley and Willow. I have often been asked how I managed to do a PhD with a family but the truth is I couldn’t have done it without them. Table of Contents 1. Introduction................................................................................................................. 1 2. Men Running Wild: the ‘New’ hegemonic Masculinities of Contemporary Cinema........................................................................................... 10 2.1 Introduction...................................................................................................................10 2.2 Choose Life, Choose a Job, Choose a Career: British Underclass Film and the Emergence of the ‘Loser’ Lifestyle.........................................................................17 2.3 Stealin' Stones and Breakin' Bones: Criminal Masculinities in the New Gangster Film...............................................................................................................26 2.4 ‘Hipster Anomie’ and the Fucked-by-Fate Masculinities of American ‘Smart Film’....35 2.5 Reflexive Sado-Masochism and the Angry White Masculinities of the ‘Male Rampage Film’.............................................................................................................43 2.6 Adolescent Masculinities in the American Teen Comedy....................................... .. .52 2.7 Conclusion.................................................................................................................... 57 3. Cool Hibernia?: the Masculinities of the New Crime/Underclass Cycle in Contemporary Irish Film.................................................................................. 59 3.1 Introduction...............................................................................................................59 3.2 The Lads from Old Ireland............................................................................................64 3.3 Irish Cinema's New Anti-Heroes: the ‘Protest Masculinities’ of the Celtic Tiger Era...69 3.4 From Working-Class to Underclass Masculinities.........................................................73 3.5 Marginalised and Socially-Excluded Men.....................................................................79 3.6 Criminal and Delinquent Masculinities......................................................................... 89 3.7 Conclusion.................................................................................................................. 102 4. Men Watching Men: Investigating the Male Audience...................................105 4.1 Introduction.................................................................................................................105 4.2 Approaching the Male Audience.................................................................................110 4.3 The Male Gaze and Spectator ship............................................................................... 115 4.4 Multiple SubJect Positionings: Class, Age and Gender in Practices of Reception...... 125 4.5 Gangsters, Boxers, Kung-Fu Fighters and Action Heroes: Exploring Multiple Pleasures and Identifications.......................................................................................132 4.6 Challenges to Pleasure and the Active Audience......................................................... 139 4.7 Conclusion.................................................................................................................. 144 5. Methodology............................................................................................................ 146 5.1 Introduction................................................................................................................. 146 5.2 Selecting a Category of Film Texts for Analysis..........................................................153 5.3 Qualitative Audience Research Design.....................................................,............. 157 5.4 Selection of Research Participants.................................................. ..................... — 160 5.5 Questionnaire (see appendix 1)....................................................................................166 5.6 Focus-Group Design....................................................................................................168 5.7 Group Interviewing and the Researcher-Researched Relationship...............................170 5.8 Data Analysis.............................................................................................................. 174 5.9 Conclusion.................... ..............................................................................................177 6. National Cinema, Transnational Masculinities: Negotiations of Gender and Nation in Film-viewing Practices.................................................................179 6.1. Introduction..................................................................................................................179 6.2 Mapping Media as Practice: Locating Irish film Consumption within Broader Contexts of Film and Media Use........................................................ 182 6.2.1 Discrepancies in Patterns of Consumption among Groups.......................................... 186 6.3 Qualitative Findings: The Geospatial and Sociospatial Geography of interpretive practices relating to Intermission................................................................................191 6.3.1 “I love watching Dublin films and shit and seeing places that you know”: Local versus National Communities among Young, Working-Class Viewers.............193 6.3.2 “Unbelievably Irish”: Humour as National Imaginary among the GAA Group............ 202 6.3.4 “You wouldn’t want to associate with them”: the Role of Class and Location in Negotiating Character Identification among the Urban Professional Group................206 6.3.5 Locality, Age and Dis-identification among the Rural Men’s Group............................211 6.4 Conclusion...................................................................................................................214 7. Audiencing Masculinity: Viewers’ Perceptions of Irish film’s ‘New’ M en........................................................................................................................... 219 7.1 Introduction..................................................................................................................219 7.2 Male Violence: Symbolic, Performative or Real?........................................................ 222 7.3 Exploring Changing Discourses on Masculinity through Discussions about Intermission and Other Irish Films............................................................................. 229 7.4 Irony and the Postmodern Audience............................................................................ 252 7.5 Conclusion................................................................................................................257
Load more

Recommended publications
  • Annual Report and Accounts 2004/2005
    THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to
    [Show full text]
  • 1997 Sundance Film Festival Awards Jurors
    1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J.
    [Show full text]
  • 1,000 Films to See Before You Die Published in the Guardian, June 2007
    1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
    [Show full text]
  • Irish Film Institute What Happened After? 15
    Irish Film Studyguide Tony Tracy Contents SECTION ONE A brief history of Irish film 3 Recurring Themes 6 SECTION TWO Inside I’m Dancing INTRODUCTION Cast & Synopsis 7 This studyguide has been devised to accompany the Irish film strand of our Transition Year Moving Image Module, the pilot project of the Story and Structure 7 Arts Council Working Group on Film and Young People. In keeping Key Scene Analysis I 7 with TY Guidelines which suggest a curriculum that relates to the Themes 8 world outside school, this strand offers students and teachers an opportunity to engage with and question various representations Key Scene Analysis II 9 of Ireland on screen. The guide commences with a brief history Student Worksheet 11 of the film industry in Ireland, highlighting recurrent themes and stories as well as mentioning key figures. Detailed analyses of two films – Bloody Sunday Inside I'm Dancing and Bloody Sunday – follow, along with student worksheets. Finally, Lenny Abrahamson, director of the highly Cast & Synopsis 12 successful Adam & Paul, gives an illuminating interview in which he Making & Filming History 12/13 outlines the background to the story, his approach as a filmmaker and Characters 13/14 his response to the film’s achievements. We hope you find this guide a useful and stimulating accompaniment to your teaching of Irish film. Key Scene Analysis 14 Alicia McGivern Style 15 Irish FIlm Institute What happened after? 15 References 16 WRITER – TONY TRACY Student Worksheet 17 Tony Tracy was former Senior Education Officer at the Irish Film Institute. During his time at IFI, he wrote the very popular Adam & Paul Introduction to Film Studies as well as notes for teachers on a range Interview with Lenny Abrahamson, director 18 of films including My Left Foot, The Third Man, and French Cinema.
    [Show full text]
  • A Star Called Henry
    Königs Erläuterungen und Materialien Band 483 Erläuterungen zu Roddy Doyle A Star Called Henry von Hans-Georg Schede übersetzt von Julia Bee Über den Autor der Erläuterung: Hans-Georg Schede, geboren 1968, studierte in Freiburg Germa- nistik sowie Anglistik und promovierte mit einer Werkmono- graphie über den Gegenwartsautor Gert Hofmann (1999). Er hat Unterrichtsmodelle zu Heinrich von Kleist, Gert Hofmann sowie Charlotte Kerner und zahlreiche Erläuterungsbände zu Werken des schulischen Lektürekanons verfasst (u. a. zu Goethe, Schiller, Kleist, Büchner, Fontane, Thomas Mann, William Faulkner, Alfred Uhry und Harper Lee). Weitere Bücher: eine Biographie über Die Brüder Grimm (2004, Neuausgabe 2009) und den Band Heinrich von Kleist in der Reihe „rowohlts monographien“ (2008). Hans-Georg Schede hat als Buchredakteur und Gymnasiallehrer gearbeitet und lebt mit seiner Familie in Freiburg. Das Werk und seine Teile sind urheberrechtlich geschützt. Jede Verwertung in anderen als den gesetzlich zugelassenen Fällen bedarf der vorherigen schriftlichen Einwilligung des Verlages. Hinweis zu § 52 a UrhG: Weder das Werk noch seine Teile dürfen ohne eine solche Einwilligung einges- cannt oder gespeichert und in ein Netzwerk eingestellt wer- den. Dies gilt auch für Intranets von Schulen und sonstigen Bildungseinrichtungen. 1. Auflage 2010 ISBN: 978-3-8044-1888-2 © 2009 by Bange Verlag, 96142 Hollfeld Alle Rechte vorbehalten! Titelabbildung: Roddy Doyle © Isolde Ohlbaum [Foto verfremdet] Druck und Weiterverarbeitung: Tiskárna Akcent, Vimperk 2 Inhalt Preface
    [Show full text]
  • Amy Winehouse a Very English Man in Japan
    Issue No. 10 THE COUNTRY GIRL MEGAN MCKENNA JAMES COSMO NICK FERRARI GAME OF THRONES FLASH IN THE PAN JOHNNY ACTON ANGELA MERKEL A VERY ENGLISH MAN WHO’S THAT GIRL? IN JAPAN MITCH WINEHOUSE AMY WINEHOUSE £4.95 $7.40 €6.70 ¥880 Being unique is the ultimate competitive advantage. The Panamera Sport Turismo. The Panamera has always set the benchmark. As a Sport Turismo it is now in a class of its own. With powerful engines delivering up to 550 hp and a design that sets new standards, it’s a car created for those who forge their own path. Discover more at www.porsche.co.uk Porsche recommends and Fuel consumption for Panamera Turbo Sport Turismo: Urban in l/100 km (mpg) 13.1 – 12.9 (21.6 – 21.9); Extra-urban in l/100 km (mpg) 7.4 – 7.3 (38.2 – 38.7); Combined in l/100 km (mpg) 9.5 – 9.4 (29.7 – 30.1); CO2 emissions in g/km 217 – 215. 14047 Panamera ST DPS 297x420mm_NCI_PCGB.indd 1 14/09/2017 16:01 ZENITH, THE FUTURE OF SWISS WATCHMAKING DEFY I El Primero 21 1/100th of a second chronograph www.zenith-watches.com Zenith_HQ • Visual: U29_DE1 • Magazine: Boisdale_ (UK) • Language: English • Issue: 24/08/2017 • Doc size: 420 x 297 mm • Calitho #: 08-17-124052 • AOS #: ZEN_13833 • TS 25/08/2017 Autumn 2017 BOISDALELIFE.COM Issue no.10 EDITOR’S LETTER THE RETURN OF THE RAT PACK TO BOISDALE ay I offer you a warm welcome to the 10th edition of Boisdale Life Magazine.
    [Show full text]
  • The Name Game
    The Name Game Monday January 15, 2001 By: Reed Martin With name talent the key that unlocks financing for so many independent films, how do filmmakers get these stars in their movies? Reed Martin finds out. First- and second-time filmmakers who have successfully begged, clawed and scratched their way to raising $300,000 to $3 million in production funds often find themselves facing yet another seemingly impossible hurdle: getting recognizable "name" stars to appear in their movies. Low-budget film economics, increased competition in the marketplace, and a looming Screen Actors Guild (SAG) strike have merged to create a perfect storm into which would-be auteurs must now set sail. And while some neophyte directors won't have a problem visualizing a split-diopter framing during a Steadycam shot, nearly all of them will find the casting process an exasperating challenge of neurosurgical proportions. "You put the wrong actor in your movie and that's it, it's over," says Dan Ireland, director of the $1.3 million The Whole Wide World and the $2.5 million The Velocity of Gary. "Casting represents about 70 percent of trying to get your film to be real and true and getting your audience to believe it." Of course, many filmmakers don't have the luxury of waiting around for the "perfect" actor for each part. Casting can be a rushed process - many roles must be filled in a compressed period of time - and one often influenced by investors expecting Blair Witch-level net points. Finding a cast that satisfies the financiers and makes a lead role come alive is no easy task.
    [Show full text]
  • GREGG BAXTER Supervising Sound Editor
    GREGG BAXTER Supervising Sound Editor Show Title Creator/Director Production Selected Television Credits SEAL TEAM Benjamin Cavell CBS TV FIFTY SHADES FREED James Foley Universal Pictures (Dialog/ADR Supervisor) UNDERDOGS (ADR Supervisor) Juan Jose Campanella The Weinstein Company FURIOUS 7 (ADR Editor) James Wan Universal Pictures INDEPENDENCE DAY: Roland Emmerich 20th Century Fox RESURGENCE (ADR Supervisor) GET ON UP Tate Taylor Universal Pictures COMPANY TOWN Taylor Hackford CBS Television Studios PARKER Taylor Hackford Sierra/Affinity MY WEEK WITH MARILYN Simon Curtis The Weinstein Company (Uncredited) I DON'T KNOW HOW SHE DOES IT Douglas McGrath The Weinstein Company EXTRAORDINARY MEASURES Tom Vaughn CBS Films INGLORIOUS BASTERDS Quentin Tarantino Universal Pictures (ADR Supervisor) WANTED (ADR Editor) Timur Bekmambetov Universal Pictures TWO LOVERS James Gray Magnolia Pictures (Supervising ADR Editor) TROY (Director's Cut) Wolfgang Petersen Warner Bros. SLIPSTREAM Anthony Hopkins Slipstream Films UNFAITHFUL Adrian Lyne 20th Century Fox THE INSIDER Michael Mann Touchstone Pictures SPEED 2: CRUISE CONTROL Jan De Bont 20th Century Fox THE LONG KISS GOODNIGHT Renny Harlin New Line Cinema T2 3-D: BATTLE ACROSS TIME James Cameron Universal NIXON Oliver Stone Cinergi Pictures Entertainment CONGO Frank Marshall Paramount Pictures OUTBREAK Wolfgang Petersen Warner Bros. SPEECHLESS Ron Underwood MGM PONTIAC MOON Peter Medak Paramount Pictures TRUE LIES James Cameron 20th Century Fox NATURAL BORN KILLERS Oliver Stone Warner Bros. www.wbppcs.com GREGG BAXTER Supervising Sound Editor Show Title Creator/Director Production CHASERS Dennis Hopper Morgan Creek Entertainment WRESTLING ERNEST HEMINGWAY Randa Haines Warner Bros. IN THE LINE OF FIRE Wolfgang Petersen Columbia Pictures CLIFFHANGER Renny Harlin Carolco Pictures ALIVE Frank Marshall Touchstone Pictures THE LAST OF THE MOHICANS Michael Mann 20th Century Fox STOP! OR MY MOM WILL SHOOT Roger Spottiswoode Universal Pictures THE CUTTING EDGE Paul Michael Glaser MGM CURLY SUE John Hughes Warner Bros.
    [Show full text]
  • Tape ID Title Language System
    Tape ID Title Language System 1375 10 English PAL 0361sn 101 Dalmatians - Live Action (NTSC) English NTSC 0362sn 101 Dalmatians II (NTSC) English NTSC 6826 12 Monkeys (NTSC) English NTSC i031 120 Days Of Sodom - Salo (Not Subtitled) Italian PAL 1078 18 Again English Pal 5163a 1900 - Part I English pAL 5163b 1900 - Part II English pAL 1244 1941 English PAL 0172sn 2 Days In The Valley (NTSC) English NTSC f085 2 Ou 3 Choses Que Je Sais D Elle (Subtitled) French PAL 1304 200 Cigarettes English Pal 6474 200 Cigarettes (NTSC) English NTSC 2401 24 - Season 1, Vol 1 English PAL 2406 24 - Season 2, Part 1 English PAL 2407 24 - Season 2, Part 2 English PAL 2408 24 - Season 2, Part 3 English PAL 2409 24 - Season 2, Part 4 English PAL 2410 24 - Season 2, Part 5 English PAL 5675 24 Hour People English PAL 2402 24- Season 1, Part 2 English PAL 2403 24- Season 1, Part 3 English PAL 2404 24- Season 1, Part 4 English PAL 2405 24- Season 1, Part 5 English PAL 3287 28 Days Later English PAL 5731 29 Palms English PAL 5501 29th Street English pAL 3141 3000 Miles To Graceland English PAL 6234 3000 Miles to Graceland (NTSC) English NTSC f103 4 Adventures Of Reinette and Mirabelle (Subtitled) French PAL 0514s 4 Days English PAL 3421 4 Dogs Playing Poker English PAL 6607 4 Dogs Playing Poker (NTSC) English nTSC g033 4 Shorts By Werner Herzog (Subtitled) English PAL 0160 42nd Street English PAL 6306 4Th Floor (NTSC) English NTSC 3437 51st State English PAL 5310 54 English Pal 0058 55 Days At Peking English PAL 3052 6 Degrees Of Separation English PAL 6389 60s, The (NTSC) English NTSC 6555 61* (NTSC) English NTSC f126 7 Morts Sur Ordonnance (NOT Subtitled) French PAL 5623 8 1/2 Women English PAL 0253sn 8 1/2 Women (NTSC) English NTSC 1175 8 Heads In A Duffel Bag English pAL 5344 8 Mile English PAL 6088 8 Women (NTSC) (Subtitled) French NTSC 5041 84 Charing Cross Road English PAL 1129 9 To 5 English PAL f220 A Bout De Souffle (Subtitled) French PAL 0652s A Funny Thing Happened On The Way To The Forum English PAL f018 A Nous Deux (NOT Subtitled) French PAL 3676 A.W.O.L.
    [Show full text]
  • Movieguide.Pdf
    Movies Without Nudity A guide to nudity in 8,345 movies From www.movieswithoutnudity.com Red - Contains Nudity Movies I Own 300: Rise of an Empire (2014) A. I. - Artificial Intelligence (2001) A La Mala (aka Falling for Mala) (2014) A-X-L (2018) A.C.O.D. (2013) [Male rear nudity] Abandon (2002) The Abandoned (2007) Abe Lincoln in Illinois (1940) Abel's Field (2012) The Abolitionists (2016) Abominable (2019) Abominable (2020) About a Boy (2002) About Adam (2001) About Last Night (1986) About Last Night (2014) About Schmidt (2002) About Time (2013) Above and Beyond (2014) Above Suspicion (1995) Above the Rim (1994) Abraham (1994) [Full nudity of boys playing in water] The Absent-Minded Professor (1961) Absolute Power (1997) Absolutely Fabulous: The Movie (2016) An Acceptable Loss (2019) Accepted (2006) The Accountant (2016) Ace in the Hole (1951) Ace Ventura: When Nature Calls (1995) [male rear nudity] Achilles' Love (2000) Across the Moon (1995) Across the Universe (2007) Action Jackson (1988) Action Point (2018) Acts of Violence (2018) Ad Astra (2019) Adam (2009) Adam at 6 A.M. (1970) Adam Had Four Sons (1941) Adam Sandler's Eight Crazy Nights (2002) Adam's Apples (2007) Adam's Rib (1949) Adaptation (2002) The Addams Family (2019) Addams Family Values (1993) Addicted (2014) Addicted to Love (1997) [Depends on who you ask, but dark shadows obscure any nudity.] The Adjuster (1991) The Adjustment Bureau (2011) The Admiral: Roaring Currents (aka Myeong-ryang) (2014) Admission (2013) Adrenaline Rush (2002) Adrift (2018) Adult Beginners (2015) Adult Life Skills (2019) [Drawings of penises] Adventures in Dinosaur City (1992) Adventures of Baron Munchausen (1989) Adventures of Buckaroo Banzai Across the 8th Dimension (1984) The Adventures of Elmo In Grouchland (1999) The Adventures of Huck Finn (1993) Adventures of Icabod and Mr.
    [Show full text]
  • University of Southampton Research Repository Eprints Soton
    University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies The Representation of Hispanic masculinity in US cinema 1998-2008: Genre, Stardom and Machismo by Victoria Lynn Kearley Thesis for the degree of Doctor of Philosophy May 2014 UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Thesis for the degree of Doctor of Philosophy ABSTRACT The Representation of Hispanic masculinity in US cinema 1998-2008: Genre, Stardom and Machismo Victoria Lynn Kearley This thesis examines how the conventions of four distinct genres, the star personas of two key Hispanic male stars and conceptions of Hispanic men as 'macho' intersected in constructing images of Hispanic masculinity in Hollywood between the years 1998 and 2008. The work makes an original contribution to knowledge as the first extensive study of Hispanic masculinity in contemporary Hollywood and affording new insights into the way in which genre conventions and star personas contributed to these representations.
    [Show full text]
  • The Hollywood Cinema Industry's Coming of Digital Age: The
    The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication.
    [Show full text]