Masculine Interests : : Homoerotics in Hollywood Film / / Robert Lang.

• Superior document: Title is part of eBook package: De Gruyter Columbia University Press eBook-Package Backlist 2000-2013
• VerfasserIn: Lang, Robert,
• Place / Publishing House: New York, NY : : Columbia University Press, , [2002]; ©2002
• Year of Publication: 2002
• Language: English
• Series: Film and Culture Series
• Physical Description: 1 online resource (384 p.) :; 59 photos
• Other title: Frontmatter --; CONTENTS --; PREFACE --; 1. Masculine Interests --; 2. Oedipus in Africa: The Lion King --; 3. To "Have Known Ecstasy": Hunting Men in The Most Dangerous Game --; 4. Friendship and Its Discontents: The Outlaw --; 5. Looking for the "Great Whatsit": Kiss Me Deadly and Film Noir --; 6. Midnight Cowboy's Backstory --; 7. Innerspace: A Spectacular Voyage to the Heart of Identity --; 8. Batman and Robin: A Family Romance --; 9. My Own Private Idaho and the New Queer Road Movies --; 10. "The Things We Think and Do Not Say": Jerry Maguire and the Business of Personal Relationships --; Concerning Happiness: An Afterword --; NOTES --; BIBLIOGRAPHY --; INDEX
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780231505437; 9783110442472
• DOI: 10.7312/lang11300
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Robert Lang.

Until Masculine Interests not much had been written about men "as men" in the cinema. Now Robert Lang considers how Hollywood articulates the eroticism that is intrinsic to identification between men. He considers masculinity in social and psychoanalytic terms, maintaining that a major function of the movies is to define different types of masculinity, and to either valorize or criticize these forms. Focusing on several films-primarily The Lion King, The Most Dangerous Game, The Outlaw, Kiss Me Deadly, Midnight Cowboy, Innerspace, My Own Private Idaho, the Batman series, and Jerry Maguire-Lang questions the way in which American culture distinguishes between homosexual and nonhomosexual forms of male bonding. In arguing for a much more complex recognition of the homosocial continuum, he contends that queer sexuality is far more present in American cinema than is usually acknowledged.