Leading Men to Violence and Creating Spaces for their Emotions
- 1 October 2006
- journal article
- research article
- Published by Informa UK Limited in Gender, Place & Culture
- Vol. 13 (5), 491-507
- https://doi.org/10.1080/09663690600858846
Abstract
With this paper, I advocate an approach to violence in film that elaborates what Gilles Deleuze calls ‘preverbal intelligible content’. I focus on leading men and cinematic contrivances between emotions and violence with intent, ultimately, on saying something about how masculinities are differentiated spatially. I argue that masculinity is far from unassailable and I use filmic manifestations of leading men's emotions and violence to explore the contestable boundaries of that manliness. To demonstrate differentiated affective spaces, I use three movies that cast leading men in violent roles—Braveheart (1995), Pulp Fiction (1994) and Mystic River (2003)—as a foil against which larger theoretical issues find form. This offers insight into how spatiality and difference are inherent parts of film viewing, and how repetition invites multiple angles for engaging masculinities. Guiando los hombres a violencia y creando espacios para sus emociones Con éste artículo, propongo un enfoque en la violencia en el cine que elabora lo que llama Gilles Deleuze el ‘contenido preverbal inteligible’. Enfoco en los protagonistas masculinos y las artimañas cinematográficas entre emociones y violencia con intento, los cuales, últimamente, dicen algo sobre cómo las masculinidades son espacialmente diferenciados. Argumento que la masculinidad no es invulnerable, y utilizo manifestaciones cinematográficas de la violencia y las emociones de los protagonistas masculinos para explorar las fronteras impugnables de aquel virilidad. Para demostrar que los espacios son diferenciados y afectivos, utilizo tres películas que tiene protagonistas masculinos en papeles violentos—Braveheart (1995), Pulp Fiction (1994), y Mystic River (2003)—como un escenario en dónde se forman los asuntos teoréticos más grandes. Éste ofrece una comprensión de cómo la especialidad y la diferencia son partes elementales de viendo las películas, y de cómo las repeticiones invitan perspectivas múltiples para entender las masculinidades.Keywords
This publication has 10 references indexed in Scilit:
- Playing and affective time-spacesChildren's Geographies, 2005
- An event of geographical ethics in spaces of affectTransactions of the Institute of British Geographers, 2003
- The Tortures of Mel GibsonMen and Masculinities, 2002
- Parables for the VirtualPublished by Duke University Press ,2002
- Editorial: Emotional geographiesTransactions of the Institute of British Geographers, 2001
- The Ontological Significance of Deleuze and Guattari's Concept of the Body Without OrgansJournal of the British Society for Phenomenology, 1998
- Pulp Fiction and the Culture of ViolenceHarvard Educational Review, 1995
- A Transactional Geography of the Image-Event: The Films of Scottish Director, Bill ForsythTransactions of the Institute of British Geographers, 1991
- Cinema IPublished by Bloomsbury Academic ,1986
- Visual Pleasure and Narrative CinemaScreen, 1975