國立虎尾科技大學 |

Neoliberal Transformations of "White Masculinity" in Cinematic Media - 1970-2015.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Neoliberal Transformations of "White Masculinity" in Cinematic Media - 1970-2015./
Author:	Masko, Jeffrey A.
Description:	1 online resource (342 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
Subject:	Film studies. -
Online resource:	click for full text (PQDT)
ISBN:	9781369991932

Neoliberal Transformations of "White Masculinity" in Cinematic Media - 1970-2015.
Masko, Jeffrey A.

Neoliberal Transformations of "White Masculinity" in Cinematic Media - 1970-2015. - 1 online resource (342 pages)

Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.

Thesis (Ph.D.)--The Pennsylvania State University, 2017.

Includes bibliographical references

This dissertation looks at three U.S. film cycles from the last 40 years -- the Cowboy Trucker in the 1970s, the Brom-com from 1990s-2010, and Alaska-based reality television shows from the late 2000s and into the present cable reality television era -- to connect them to neoliberal transformations of the workplace. Examining how whiteness and masculinity have been represented historically and currently as responses to reproducing class processes and positions allows us to trace the functions of non-class processes and positions on class representations in cinematic media. By using a dual formal-social analysis, I link the filmic elements of specifically chosen cinematic media to the social context in which they are used to illustrate the overdetermined nature of the social forces and the cinematic media of each period. Representations of whiteness and masculinity are used to "stand in" for class positions when necessary to reinforce the capitalist project by sublimating class recognition. By eliding class processes, this substitution divides and fractures the working force. Thus hegemony of multiple iterations of masculinities and whiteness function to delimit dialogue about class for one based on political subjectivities. By highlighting class processes and positions as an entry point, I hope to restore some balance between class analysis and theories of political identity and to highlight the necessarily mutually constitutive relationship between gender, race, and class.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9781369991932Subjects--Topical Terms:

1179264
Film studies.
Index Terms--Genre/Form:

554714
Electronic books.

Neoliberal Transformations of "White Masculinity" in Cinematic Media - 1970-2015.
LDR:02667ntm a2200325K 4500 001 912409
005 20180608141653.5
006 m o u
007 cr mn||||a|a||
008 190606s2017 xx obm 000 0 eng d
020 $a 9781369991932
035 $a (MiAaPQ)AAI10629090
035 $a AAI10629090
040 $a MiAaPQ $b eng $c MiAaPQ
100 1 $a Masko, Jeffrey A. $3 1184757
245 1 0 $a Neoliberal Transformations of "White Masculinity" in Cinematic Media - 1970-2015.
264 0 $c 2017
300 $a 1 online resource (342 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
500 $a Adviser: Michelle Rodino-Colocino.
502 $a Thesis (Ph.D.)--The Pennsylvania State University, 2017.
504 $a Includes bibliographical references
520 $a This dissertation looks at three U.S. film cycles from the last 40 years -- the Cowboy Trucker in the 1970s, the Brom-com from 1990s-2010, and Alaska-based reality television shows from the late 2000s and into the present cable reality television era -- to connect them to neoliberal transformations of the workplace. Examining how whiteness and masculinity have been represented historically and currently as responses to reproducing class processes and positions allows us to trace the functions of non-class processes and positions on class representations in cinematic media. By using a dual formal-social analysis, I link the filmic elements of specifically chosen cinematic media to the social context in which they are used to illustrate the overdetermined nature of the social forces and the cinematic media of each period. Representations of whiteness and masculinity are used to "stand in" for class positions when necessary to reinforce the capitalist project by sublimating class recognition. By eliding class processes, this substitution divides and fractures the working force. Thus hegemony of multiple iterations of masculinities and whiteness function to delimit dialogue about class for one based on political subjectivities. By highlighting class processes and positions as an entry point, I hope to restore some balance between class analysis and theories of political identity and to highlight the necessarily mutually constitutive relationship between gender, race, and class.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a Film studies. $3 1179264
650 4 $a Mass communication. $3 1179310
650 4 $a Gender studies. $3 1179195
655 7 $a Electronic books. $2 local $3 554714
690 $a 0900
690 $a 0708
690 $a 0733
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a The Pennsylvania State University. $b Communications. $3 1179549
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10629090 $z click for full text (PQDT)