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Zusatztext an interesting study. Informationen zum Autor Derek Nystrom was educated at the University of Wisconsin and the University of Virginia. He has published essays in Cinema Journal and Postmodern Culture, and co-authored, with Kent Puckett, Against Bosses, Against Oligarchies: A Conversation with Richard Rorty. He teaches film and cultural studies in the English Department of McGill University. Klappentext Hard Hats, Rednecks, and Macho Men examines a wide range of American films from the 1970s and argues that their persistent depictions of white, working-class masculinity provided a powerful class fantasy, one that spoke to middle-class anxieties provoked by the period's social and political upheavals. Drawing on iconic films from the era -- Saturday Night Fever, Looking for Mr. Goodbar, Walking Tall, and Five Easy Pieces, among others -- Nystrom presents an incisive, evocative study of labor, class, and American cinema in the wake of Vietnam, women's and gay liberation, the rise of the New Right, and other events that defined the decade. Zusammenfassung Everywhere you look in 1970s American cinema, you find white working-class men. They bring a violent conclusion to Easy Rider, murdering the film's representatives of countercultural alienation and disaffection. They lurk in the Georgia woods of Deliverance, attacking outsiders in a manner that evokes the South's recent history of racial violence and upheaval. They haunt the singles nightclubs of Looking for Mr. Goodbar, threatening the film's newly liberated heroine with patriarchal violence. They strut through the disco clubs of Saturday Night Fever, dancing to music whose roots in post-Stonewall homosexuality invite ambiguity that the men ignore. Hard Hats, Rednecks, and Macho Men argues that the persistent appearance of working-class characters in these and other films of the 1970s reveals the powerful role class played in the key social and political developments of the decade, such as the decline of the New Left and counterculture, the re-emergence of the South as the Sunbelt, and the rise of the women's and gay liberation movements. Examining the "youth cult" film, the neo-Western "southern," and the "new nightlife" film, Nystrom shows how these cinematic renderings of white working-class masculinity actually tell us more about the crises facing the middle class during the 1970s than about working-class experience itself. Hard Hats thus demonstrates how these representations of the working class serve as fantasies about a class Other-fantasies that offer imaginary resolutions to middle-class anxieties provoked by the decade's upheavals. Drawing on examples of iconic films from the era-Saturday Night Fever, Cruising, Five Easy Pieces, and Walking Tall, among others-Nystrom presents an incisive, evocative study of class and American cinema during one of the nation's most tumultuous decades. Inhaltsverzeichnis Acknowledgments Preface Introduction: Making Class Visible to Film and Cultural Studies Part One: Hard Hats and Movie Brats 1: Class and the Youth-Cult Cycle Part Two: Rednecks and Good Ole Boys: The Rise of the Southern 2: Deliverance: An Allegory of the Sunbelt 3: Keep On Truckin': The Southern Cycle and the Invention of the Good Ole Boy Part Three: Macho Men and the New Nightlife Film 4: Saturday Night Fever and the Queering of the White, Working-Class Male Body 5: Extra Masculinity: Looking for (and Cruising) the White, Working-Class Male Body Conclusion: Working-Class Solidarity and its Others Afterword: Hard Hats Revisited: The Labor of 9/11 Endnotes Works Cited Index ...
