The Avatars of Masculinity in Robocop (1987) and Its Remake (2014)
Représentations dans le monde anglophone – Janvier 2017 Man Made and Remade: the Avatars of Masculinity in Robocop (1987) and its Remake (2014) Cyril Besson, Univ. Grenoble Alpes, ILCEA4 Keywords: Robocop, Verhoeven, Padilha, remake, gender, genre, point of view in film. Mots-clés: Robocop, Verhoeven, Padilha, remake, genre, sexes, point de vue au cinéma. It is tempting to begin with a truism: nothing comes from nothing. This is a belief articulated by many in the twentieth century, among whom George Steiner in After Babel, where he presents culture as a long chain of translations and transformations of verbal, thematic or formal constants. The problem raised by the notion of a syntax of culture, however, is the same as with language, as exemplified by de Saussure’s distinction between langue and parole: if all one ever does is move around “building blocks” following the constraints imposed by a system, what of individual creativity? If the question is, generally speaking, of little import to most speakers of a given language, things are different when it comes to art and culture: finding one’s voice, embodying a sort of progress for one’s chosen form of expression and leaving one’s mark on the latter, is what being an artist is about. The question of whether there is such a thing as true artistic singularity might be insoluble (no artist exists, who has not been influenced in some way, no matter how unpleasant the idea might be to him)1; however, one could say that in the field of popular culture, the twenty-first century inverts the proposition, especially in the collaborative form of art that is the cinema.
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