“It Touches on Universal Things”

Total Page:16

File Type:pdf, Size:1020Kb

“It Touches on Universal Things” REEL TIME TWO OF A KIND brother, I ended up playing the I doubt if that’s me. I tend to be Screen legends Sam Neill and Michael tortured brother and it was someone who is more inclined Caton reunite as warring brothers in a real change of pace for me. to toe the line. I’m a law abider. I usually play sympathetic a reimagining of endearing comedy Rams characters; it was a challenge It’s unbelievable that the pair of to play someone edgier and you haven’t worked together since RAMS What is Rams about at its heart? wild and out of control. The Sullivans. What was it like Saturday July 31 at 8.30pm and Michael Caton: I’d say to reunite 40 years on? miscommunication. Both When I first knew Michael, watch On Demand Did you identify with any aspect Neill: brothers are hopeless at of your characters? he was a regular on The Foxtel Movies Premiere [401] communicating their feelings. Caton: I refuse to answer on the Sullivans and I had a guest Les just stews, unless he gets grounds that I could incriminate spot. He was a roaring boy at on the sauce – and then God myself! [Laughs] He is a tortured that point – he’s a much quieter n Australia’s robust but help you! And look at Col soul. There’s a whole backstory bloke now – but I’ve always relatively small film industry, – he has so much trouble for Les; the way he [didn’t inherit] been fond of him. He was it’s hard to believe that saying what’s on his mind. the family farm and came back kind to me when I was a Kiwi renowned actors Sam Neill Sam Neill: It’s about sibling from serving in Vietnam, and who had just crossed the and Michael Caton haven’t rivalry and communities under how he is affected by all of that. Ditch, wet behind the ears. Iworked together since 1980, pressure, the nature of Neill: Colin is a still- I’ve always been when Neill had a guest spot friendship and pandemics. waters-run-deep grateful for that. in Caton’s WWII-set series It touches on a lot of things kind of bloke. Not “It touches Caton: I’ve always The Sullivans. that are universal. that I particularly on universal really liked Sam. In the decades since, their identify with that, but He has a beautiful careers have taken different What attracted you to the I sort of understand things” manner about him. yet equally stellar trajectories – Rams story? it. I’ve spent a lot – Sam Neill He moves through Neill known for his international Neill: I was sent a script and of time on farms the world very roles, including Dr Alan Grant I immediately said no, because and there is a thing gracefully. I wish I had in the blockbuster Jurassic I’d seen the original, which about people on the land, that gift. It was a hell of a shoot, Park franchise, while Caton is a film I liked very much. people like Colin: they don’t though. In one scene, I’m on became synonymous with I didn’t see any point in it being say much, but they like a quad bike and there are wind playing affable patriarchs in remade. But Jeremy [Sims], to lean on gates and stare and smoke machines, I can’t cult classic The Castle and the director, said, ‘Please into the distance quite a bit. see a thing in front of me, and popular TV series Packed read the script.’ He talked [Laughs] So I know a lot of Jeremy wants the quad bike FILMS ROADSHOW PHOTO: LEIGH LIVINGSTONE. STORY: to the Rafters. me into it, basically, in the full Colins and there might even and sheep in the same shot. Rams reunites the icons in understanding that we weren’t be a bit of Colin in me. So I’m right up on the sheep an adaptation of the award- really doing a remake. It was and Sam’s behind me shouting, winning Icelandic film of the a springboard – a very different When disaster strikes, Les is ‘Dog! Dog!’ because the dog same name as Colin (Neill) film in a very different country. openly defiant and Colin is a quiet took no notice of the quad and Les (Caton) Grimurson, Caton: Originally, I was going to rebel. Would you behave the same bike. I had to brake savagely estranged brothers facing play the role of Colin. Then we way in your character’s situation? a couple of times to avoid Michael Caton shifts a pandemic that threatens their had a meeting with Jeremy Caton: I’d be the quiet one. running over this dog, so we Sam Neill perfectly gears to play “tortured captures the “quiet soul” Les in Rams community and the family’s and they’d rewritten the script, Anything to avoid a blow-up. had a great partnership in rebel” in Colin sheep-farming legacy. so instead of playing the nice Neill: Colin is a quiet rebel, but that regard. [Laughs] 38 | JULY | FOXTEL foxtel.com.au | JULY | 39.
Recommended publications
  • David Stratton's Stories of Australian Cinema
    David Stratton’s Stories of Australian Cinema With thanks to the extraordinary filmmakers and actors who make these films possible. Presenter DAVID STRATTON Writer & Director SALLY AITKEN Producers JO-ANNE McGOWAN JENNIFER PEEDOM Executive Producer MANDY CHANG Director of Photography KEVIN SCOTT Editors ADRIAN ROSTIROLLA MARK MIDDIS KARIN STEININGER HILARY BALMOND Sound Design LIAM EGAN Composer CAITLIN YEO Line Producer JODI MADDOCKS Head of Arts MANDY CHANG Series Producer CLAUDE GONZALES Development Research & Writing ALEX BARRY Legals STEPHEN BOYLE SOPHIE GODDARD SC SALLY McCAUSLAND Production Manager JODIE PASSMORE Production Co-ordinator KATIE AMOS Researchers RACHEL ROBINSON CAMERON MANION Interview & Post Transcripts JESSICA IMMER Sound Recordists DAN MIAU LEO SULLIVAN DANE CODY NICK BATTERHAM Additional Photography JUDD OVERTON JUSTINE KERRIGAN STEPHEN STANDEN ASHLEIGH CARTER ROBB SHAW-VELZEN Drone Operators NICK ROBINSON JONATHAN HARDING Camera Assistants GERARD MAHER ROB TENCH MARK COLLINS DREW ENGLISH JOSHUA DANG SIMON WILLIAMS NICHOLAS EVERETT ANTHONY RILOCAPRO LUKE WHITMORE Hair & Makeup FERN MADDEN DIANE DUSTING NATALIE VINCETICH BELINDA MOORE Post Producers ALEX BARRY LISA MATTHEWS Assistant Editors WAYNE C BLAIR ANNIE ZHANG Archive Consultant MIRIAM KENTER Graphics Designer THE KINGDOM OF LUDD Production Accountant LEAH HALL Stills Photographers PETER ADAMS JAMIE BILLING MARIA BOYADGIS RAYMOND MAHER MARK ROGERS PETER TARASUIK Post Production Facility DEFINITION FILMS SYDNEY Head of Post Production DAVID GROSS Online Editor
    [Show full text]
  • 1 Forever Alone in a Crowd, Arthur Fleck Seeks Connection. Yet, As He
    Forever alone in a crowd, Arthur Fleck seeks connection. Yet, as he trods the sooted Gotham City streets and rides the graffitied mass transit rails of a hostile town teeming with division and dissatisfaction, Arthur wears two masks. One, he paints on for his day job as a clown. The other he can never remove; it’s the guise he projects in a futile attempt to feel he’s a part of the world around him, and not the misunderstood man whom life is repeatedly beating down. Fatherless, Arthur has a fragile mother, arguably his best friend, who nicknamed him Happy, a moniker that’s fostered in Arthur a smile that hides the heartache beneath. But, when bullied by teens on the streets, taunted by suits on the subway, or simply teased by his fellow clowns at work, this social outlier only becomes even more out of sync with everyone around him. Directed, co-written and produced by Todd Phillips, “Joker” is the filmmaker’s original vision of the infamous DC villain, an origin story infused with, but distinctly outside, the character’s more traditional mythologies. Phillips’ exploration of Arthur Fleck, who is indelibly portrayed by Joaquin Phoenix, is of a man struggling to find his way in Gotham’s fractured society. Longing for any light to shine on him, he tries his hand as a stand-up comic, but finds the joke always seems to be on him. Caught in a cyclical existence between apathy and cruelty and, ultimately, betrayal, Arthur makes one bad decision after another that brings about a chain reaction of escalating events in this gritty, allegorical character study.
    [Show full text]
  • Wide Open Road
    29 JUNE TO 7 JULY 2018 CELEBRATING THE WIDE OPEN ROAD For more information visit visionsplendidfilmfest.com Vision Splendid Outback Film Festival 2018 WELCOME TO OUTBACK HOLLYWOOD Welcome to Winton’s fifth annual Vision Splendid Outback Film Festival. This year we are celebrate the Wide Open Road. The program includes the latest Australian contemporary, award winning, classic and cult films. Vision Splendid Is the only film festival in the world to dedicated to Australian film. I invite you to join me at this very special and unique festival under the stars in the 100 year old Royal Open Air Theatre. Gavin Baskett Mayor, Winton Shire Council superior rooms superior style CAFE / RESTAURANT / BEER GARDEN / AIR-CONDITIONED ENSUITED ACCOMMODATION / COMPLIMENTARY WIFI VAN PARK / LAUNDROMAT / GAMING, TAB, KENO 67 ELDERSLIE STREET, WINTON QLD 4735 WWW.NORTHGREGORYHOTEL.COM (07) 4657 0647 VISIONSPLENDIDOUTBACKTOURS.COM.AU FOR BOOKINGS CALL 0474 510 428 2 CONTENTS Festival Highlights 6 Qantas Short Film 15 Competition Day 1 7 Program Quick Guide 28-29 Day 2 8-9 A to Z of Films 30-44 Day 3 10-11 Getting to Winton 47 Day 4 12-13 Tickets 49 Day 5 16-17 2018 Sponsors 50-51 Day 6 18-19 Day 7 20-21 Day 8 22-23 Day 9 24-25 superior rooms superior style CAFE / RESTAURANT / BEER GARDEN / AIR-CONDITIONED ENSUITED ACCOMMODATION / COMPLIMENTARY WIFI VAN PARK / LAUNDROMAT / GAMING, TAB, KENO 67 ELDERSLIE STREET, WINTON QLD 4735 WWW.NORTHGREGORYHOTEL.COM (07) 4657 0647 VISIONSPLENDIDOUTBACKTOURS.COM.AU FOR BOOKINGS CALL 0474 510 428 3 Vision Splendid Outback Film Festival 2018 4 MESSAGE FROM MINISTER FOR TOURISM INDUSTRY DEVELOPMENT THE HONOURABLE KATE JONES MP Welcome to Outback Queensland for the Winton’s Vision Splendid Outback Film Festival 2018.
    [Show full text]
  • © 2018 Mystery Road Media Pty Ltd, Australian Broadcasting Corporation, Create NSW, Screenwest (Australia) Ltd, Screen Australia
    © 2018 Mystery Road Media Pty Ltd, Australian Broadcasting Corporation, Create NSW, Screenwest (Australia) Ltd, Screen Australia SUNDAYS AT 8.30PM FROM JUNE 3, OR BINGE FULL SEASON ON IVIEW Hotly anticipated six-part drama Mystery Road will debut on ABC & ABC iview on Sunday, 3 June at 830pm. Because just one episode will leave audiences wanting for more, the ABC is kicking off its premiere with a special back-to-back screening of both episodes one and two, with the entire series available to binge on iview following the broadcast. Contact: Safia van der Zwan, ABC Publicist, 0283333846 & vanderzwan.safia@abc.net.au ABOUT THE PRODUCTION Filmed in the East Kimberley region of Western Australia, Aaron Pedersen and Judy Davis star in Mystery Road – The Series a six part spin-off from Ivan Sen’s internationally acclaimed and award winning feature films Mystery Road and Goldstone. Joining Pedersen and Davis is a stellar ensemble casting including Deborah Mailman, Wayne Blair, Anthony Hayes, Ernie Dingo, John Waters, Madeleine Madden, Kris McQuade, Meyne Wyatt, Tasia Zalar and Ningali Lawford-Wolf. Directed by Rachel Perkins, produced by David Jowsey & Greer Simpkin, Mystery Road was script produced by Michaeley O’Brien, and written by Michaeley O’Brien, Steven McGregor, Kodie Bedford & Tim Lee, with Ivan Sen & the ABC’s Sally Riley as Executive Producers. Bunya Productions’ Greer Simpkin said: “It was a great honour to work with our exceptional cast and accomplished director Rachel Perkins on the Mystery Road series. Our hope is that the series will not only be an entertaining and compelling mystery, but will also say something about the Australian identity.” ABC TV Head of Scripted Sally Riley said: “The ABC is thrilled to have the immense talents of the extraordinary Judy Davis and Aaron Pedersen in this brand new series of the iconic Australian film Mystery Road.
    [Show full text]
  • Australian Comedy
    As fi lmgoers, do you When, I wondered, was the last Australian fi lm enough premise and a suffi ciently confi dent sometimes wonder if comedy that seemed genuinely funny, as if sense of the comic spirit to sustain audience inspired by a viable narrative agenda and with involvement in a feature-length comedy? the phrase ‘Australian a screenplay that could articulate this—and comedy’ is an oxymoron? keep up the work until the very end? It’s near- Writing about ‘Comedy’ in The Oxford Certainly, as I watched ly twenty years since Crocodile Dundee (Peter Companion to Australian Film (1999), Felicity Faiman,1986) became the highest-grossing Collins claimed that, after the international in a concentrated burst Australian fi lm ever, milking every stereotype successes of the early 1990s (Ballroom, Mu- over a couple of weeks a of the superiority of bush innocence over riel, The Adventures of Priscilla, Queen of the half-dozen fi lms from the urban sophistication for all it was worth. Then Desert [Stephan Elliot, 1994]) ‘Australian cine- there were admittedly very funny sequences ma has become synonymous with comedy’.1 last fi ve years, it did quite in, and aspects of, Strictly Ballroom (Baz She was able then to argue a case for such often seem to me that Luhrmann,1992) and Muriel’s Wedding (P.J. a view that would be hard to mount now. the phrase was yoking Hogan, 1994), but their real distinction lay Some of the same thematic preoccupations together two concepts elsewhere. Was The Castle (Rob Sicth, 1997) underlie the fi lms I am concerned with here: the last Australian fi lm that had a strong there are still ‘little guys’ taking on corpora- with little common ground.
    [Show full text]
  • David Stratton's STORIES of AUSTRALIAN CINEMA
    David Stratton’s STORIES OF AUSTRALIAN CINEMA **David Stratton: A Cinematic Life (a feature version of this series) has been selected to screen at the 70th Cannes Film Festival which opens May 17. “When I started championing Australian cinema at the Sydney Film Festival I couldn’t have imagined the richness of movies that would follow,” says David. “These are the stories of the films that changed the way the world saw us and how we saw ourselves … a story of how the films and those who made them broke through the status quo.” Revered critic David Stratton tells the glorious story of Australian cinema, focusing in on the films that capture the nation’s true nature with candour, emotion and humour. David is superbly qualified for this task. While he adapted to a new country and turned his passion for cinema into a profession as a film festival director and film critic, a growing band of courageous Australians turned their enthusiasm for storytelling into an extraordinary body of work. “A nation found its identity through cinema and so did I; this is my journey through the movies that made our nation,” he says. Those movies are wildly diverse but strong themes echo throughout the body of work. Screen Australia, The Australian Broadcasting Corporation and Screen NSW in association with the Adelaide Film Festival present A Stranger Than Fiction Production Episode one: Game Changers (June 6) Filmmakers gained confidence with: the boldness of Picnic at Hanging Rock and Mad Max; the global success of Crocodile Dundee and Shine; the flamboyance of Strictly Ballroom; the substance and style of Samson & Delilah.
    [Show full text]
  • Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities
    Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities Matthew Robinson A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education, University of the West of England, Bristol June 2016 90,792 words Contents Abstract 2 Chapter One: Introduction 3 Chapter Two: Critical Review 24 Chapter Three: Producing the British Biopic 1900-2014 63 Chapter Four: The Reception of the British Biopic 121 Chapter Five: Conventions and Themes of the British 154 Biopic Chapter Six: This is His Story: ‘Wounded’ Men and 200 Homosocial Bonds Chapter Seven: The Contemporary British Biopic 1: 219 Wounded Men Chapter Eight: The Contemporary British Biopic 2: 263 Homosocial Recoveries Chapter Nine: Conclusion 310 Bibliography 323 General Filmography 355 Appendix One: Timeline of the British Biopic 1900-2014 360 Appendix Two: Distribution of Gender and Professional 390 Field in the British Biopic 1900-2014 Appendix Three: Column and Pie Charts of Gender and 391 Profession Distribution in British Biopics Appendix Four: Biopic Production as Proportion of Total 394 UK Film Production Previously Published Material 395 1 Abstract This thesis offers a revaluation of the British biopic, which has often been subsumed into the broader ‘historical film’ category, identifying a critical neglect despite its successful presence throughout the history of the British film industry. It argues that the biopic is a necessary category because producers, reviewers and cinemagoers have significant investments in biographical subjects, and because biopics construct a ‘public history’ for a broad audience.
    [Show full text]
  • Cottesloe Film Festival Cottesloe Civic Centre
    COTTESLOE FILM FESTIVAL COTTESLOE CIVIC CENTRE Gates open 5:30pm • HAPPY HOUR from 5.30-630pm Music & Food from 6pm • Films commence 7:30pm including a WA Short Film each night BYO chairs / rugs (no BYO alcohol) • EFTPOS available Tickets: $15/$22 (+ booking fees) – available online and at the door www.cottfilmfest.com $2 from every full ticket donated to Cottesloe Coastcare Association cottesloefilmfestival @cottfilmfest Saturday 27 January - Opening Night I AM HEATH LEDGER Documentary|Canada|94 mins|M Directed by: Adrian Buitenhuis, Derik Murray Interviewees: Kim Ledger, Kate Ledger, Sally Bell, N’fa Jones, Naomi Watts, Ben Medelsohn, Ang Lee, Ben Harper, Emilie Hirsch, Kane Manera & Catherine Hardwicke World Premiere – Tribeca Film Festival 2017 I AM HEATH LEDGER is a feature length documentary celebrating the life of Heath Ledger: actor, artist and icon. The documentary provides an intimate look at Heath through the lens of his own camera as he films and often performs in his own personal journey – extravagant in gesture and in action. It was his creative energy and unshakable willingness to take risks that instilled such an extraordinarily deep love and affection in the people that entered his life. Heath’s artistic nature and expression set him apart form the Hollywood mainstream, vaulted him to stardom and endeared him to the world. Special guest performance by ARIA awardwinning hiphop artist, N’fa Jones. N’fa Jones is a bi-cultural Australian/ Sierra-Leonean artist credited for establishing the Australian Hip Hop movement with his band 1200 Techniques, breaking onto the scene in 2000. The band originally built its profile on an underground status before finding its success in a mainstream respect, playing major festivals around the country and winning ARIA awards (the first urban group to ever win an ARIA).
    [Show full text]
  • Production Notes
    During his lifetime, J. Edgar Hoover would rise to be the most powerful man in America. As head of the Federal Bureau of Investigation for nearly 50 years, he would stop at nothing to protect his country. Through eight presidents and three wars, Hoover waged battle against threats both real and perceived, often bending the rules to keep his countrymen safe. His methods were at once ruthless and heroic, with the admiration of the world his most coveted, if ever elusive, prize. Hoover was a man who placed great value on secrets—particularly those of others—and was not afraid to use that information to exert authority over the leading figures in the nation. Understanding that knowledge is power and fear poses opportunity, he used both to gain unprecedented influence and to build a reputation that was both formidable and untouchable. He was as guarded in his private life as he was in his public one, allowing only a small and protective inner circle into his confidence. His closest colleague, Clyde Tolson, was also his constant companion. His secretary, Helen Gandy, who was perhaps most privy to Hoover’s designs, remained loyal to the end…and beyond. Only Hoover’s mother, who served as his inspiration and his conscience, would leave him, her passing truly crushing to the son who forever sought her love and approval. As seen through the eyes of Hoover himself, “J. Edgar” explores the personal and public life and relationships of a man who could distort the truth as easily as he upheld it during a life devoted to his own idea of justice, often swayed by the darker side of power.
    [Show full text]
  • Last Cab to Darwin
    LAST CAB TO DARWIN A film by Jeremy Sims 123 min / English / 2016 / Color / Australia / Digital (DCP and Blu-ray) FIRST RUN FEATURES The Film Center Building 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 / Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: info@firstrunfeatures.com Synopsis Rex, a Broken Hill cab driver, has spent his life avoiding getting close to people. Even his best friend and occasional lover Polly, who lives across the road, is kept at distance. One day, he discovers he is dying. He doesn’t want to be forced to rely on anyone, least of all Polly, so he decides to leave his home and drive alone the 3000kms across the continent to Darwin, where the recently passed euthanasia laws lead him to believe he can be in control of his own death. But on this epic journey he meets people who force him to re-evaluate his life. He begins to realize that a life not shared is a life not lived. Sadly it seems wisdom has come too late, until Polly finally gives Rex the courage to act. Against all the odds, in one final heroic act of pure will, he drives his cab back through time and distance to Broken Hill, where he will share what he has left of his life with the one he loves. Filmmaker Biography Jeremy Sims (born in 1966) works as an actor, director, writer and producer across theatre, film and television. Jeremy has had a successful and acclaimed career as an actor, working in film (he received an AFI award ‘Best Actor’ nomination for Idiot Box), on television (he has several Logie and AFI ‘Best Actor’ nominations, winning for Aftershocks in 1996) and on stage, where his reputation as one of Australia’s great actors has been built playing roles like Cyrano De Bergerac and Hamlet to national acclaim.
    [Show full text]
  • David Stratton: a Cinematic Life
    Presents DAVID STRATTON: A CINEMATIC LIFE Directed by SALLY AITKEN / In cinemas MARCH 9, 2017 Featuring DAVID STRATTON, GILLIAN ARMSTRONG, ERIC BANA, BRYAN BROWN, RUSSELL CROWE, NICOLE KIDMAN, GEORGE MILLER, SAM NEILL, GEOFFREY RUSH, FRED SCHEPISI, WARWICK THORNTON, JACKI WEAVER and HUGO WEAVING PUBLICITY REQUESTS: Transmission Films / Amy Burgess / +61 2 8333 9000 / amy@transmissionfilms.com.au IMAGES High res images and poster available to download via the DOWNLOAD MEDIA tab at: http://www.transmissionfilms.com.au/films/david-stratton-a-cinematic-life Distributed in Australia by TransMission Films Screen Australia The Australian Broadcasting Corporation and Screen NSW in association with the Adelaide Film Festival present A Stranger Than Fiction Production David Stratton’s A CINEMATIC LIFE How a love affair with Australian cinema led one man to understand himself and his adopted country Writer/director: Sally Aitken Producer: Jo-anne McGowan Executive producer: Jennifer Peedom In Australian cinemas from March 9, 2017 Q&A screenings with David around the country from late February Distributor: Transmission Films Production company: Stranger Than Fiction Films Technical and other information Format Feature-length documentary Length 1:37:44 Aspect ratio 2:39:1 Sound 5.1 Filmed at: • Coffs Harbour/Sawtell, Bankstown, Camden, Sydney, the Blue Mountains and Broken Hill in New South Wales • Melbourne and Mount Macedon (Hanging Rock) in Victoria • Brisbane and the Gold Coast in Queensland • Canberra in the Australian Capital Territory • Alice Springs and Uluru in the Northern Territory • Los Angeles and Providence in the US • London and Devizes in the UK With thanks to the extraordinary filmmakers and actors who created the films that have enriched Australia.
    [Show full text]
  • Representations of Troubled and Troubling Masculinities in Some Australian Films, 1991-2001
    ‘Gods in our own World’: Representations of Troubled and Troubling Masculinities in Some Australian Films, 1991-2001 Shane Crilly Thesis submitted for the degree of Doctor of Philosophy Discipline of English Faculty of Humanities and Social Sciences University of Adelaide April 2004 Table of Contents Abstract iii Declaration iv Acknowledgements v Introduction 1 Chapter 1 A Man’s World: Boys, their Fathers and the Reproduction of the Patriarchy 24 Chapter 2 Mummy’s Boys: Men, their Mothers and Absent Fathers 53 Chapter 3 Bad Boys: Representations of Men’s Violence in The Boys 86 Chapter 4 The Performance of Masculinity: Larrikinism and Australian Masculinities 119 Chapter 5 Love, Sex, Marriage, and Sentimental Blokes 155 Conclusion 197 Filmography 209 Bibliography 211 Abstract The dominance of male characters in Australian films makes our national cinema a rich resource for the examination of the construction of masculinities. This thesis argues that the codes of the hegemonic masculinities in capitalist patriarchal societies like Australia insist on an absolute masculine position. However, according to Oedipal logic, this position always belongs to another man. Masculine yet ‘feminised,’ identity is fraught with anxiety but sustained by the ‘dominant fiction’ that equates the penis with the phallus and locates the feminine as its polar opposite. This binary relationship is inaugurated in childhood when a boy must distinguish his identity from his mother, who, significantly, is a different gender. Being masculine means not being feminine. However, as much as men strive towards inhabiting the masculine position completely, this masquerade will always be exposed by the elements associated with femininity that are an inevitable part of the human experience.
    [Show full text]