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"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. It 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 rat. 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."--Jacket.
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Love, tears, and the male spectator
2002, Fairleigh Dickinson University Press, Associated University Presses
in English
0585439117 9780585439112
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Includes bibliographical references (pages 208-215) and index.
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