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Psycho-Sexual : Male Desire in Hitchcock, De Palma, Scorsese, and Friedkin / David Greven.

By: Material type: TextTextPublisher: Austin : University of Texas Press, [2021]Copyright date: ©2013Description: 1 online resource (311 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780292742031
Subject(s): DDC classification:
  • 791.43/653 23
LOC classification:
  • PN1995.9.M46 G746 2013
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- CONTENTS -- ACKNOWLEDGMENTS -- INTRODUCTION. Hitchcock, Gender, and the New Hollywood -- Chapter One. Cruising, Hysteria, Knowledge: The Man Who Knew Too Much (1956) -- Chapter Two “You Are Alone Here, Aren’t You?”: Psycho’s Doubles -- Chapter Three. Blank Screens: Psycho and the Pornographic Gaze -- Chapter Four. Misfortune and Men’s Eyes: Three Early De Palma Comedies -- Chapter Five. A Sense of Vertigo: Taxi Driver -- Chapter Six. Mirror Shades: Cruising -- Chapter Seven The Gender Museum: Dressed to Kill -- Coda. Ideology at an Impasse -- NOTES -- BIBLIOGRAPHY -- INDEX
Summary: Bridging landmark territory in film studies, Psycho-Sexual is the first book to apply Alfred Hitchcock’s legacy to three key directors of 1970s Hollywood—Brian De Palma, Martin Scorsese, and William Friedkin—whose work suggests the pornographic male gaze that emerged in Hitchcock’s depiction of the voyeuristic, homoerotically inclined American man. Combining queer theory with a psychoanalytic perspective, David Greven begins with a reconsideration of Psycho and the 1956 remake of The Man Who Knew Too Much to introduce the filmmaker’s evolutionary development of American masculinity. Psycho-Sexual probes De Palma’s early Vietnam War draft-dodger comedies as well as his film Dressed to Kill, along with Scorsese’s Taxi Driver and Friedkin’s Cruising as reactions to and inventive elaborations upon Hitchcock’s gendered themes and aesthetic approaches. Greven demonstrates how the significant political achievement of these films arises from a deeply disturbing, violent, even sorrowful psychological and social context. Engaging with contemporary theories of pornography while establishing pornography’s emergence during the classical Hollywood era, Greven argues that New Hollywood filmmakers seized upon Hitchcock’s radical decentering of heterosexual male dominance. The resulting images of heterosexual male ambivalence allowed for an investment in same-sex desire; an aura of homophobia became informed by a fascination with the homoerotic. Psycho-Sexual also explores the broader gender crisis and disorganization that permeated the Cold War and New Hollywood eras, reimagining the defining premises of Hitchcock criticism.
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Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780292742031

Frontmatter -- CONTENTS -- ACKNOWLEDGMENTS -- INTRODUCTION. Hitchcock, Gender, and the New Hollywood -- Chapter One. Cruising, Hysteria, Knowledge: The Man Who Knew Too Much (1956) -- Chapter Two “You Are Alone Here, Aren’t You?”: Psycho’s Doubles -- Chapter Three. Blank Screens: Psycho and the Pornographic Gaze -- Chapter Four. Misfortune and Men’s Eyes: Three Early De Palma Comedies -- Chapter Five. A Sense of Vertigo: Taxi Driver -- Chapter Six. Mirror Shades: Cruising -- Chapter Seven The Gender Museum: Dressed to Kill -- Coda. Ideology at an Impasse -- NOTES -- BIBLIOGRAPHY -- INDEX

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Bridging landmark territory in film studies, Psycho-Sexual is the first book to apply Alfred Hitchcock’s legacy to three key directors of 1970s Hollywood—Brian De Palma, Martin Scorsese, and William Friedkin—whose work suggests the pornographic male gaze that emerged in Hitchcock’s depiction of the voyeuristic, homoerotically inclined American man. Combining queer theory with a psychoanalytic perspective, David Greven begins with a reconsideration of Psycho and the 1956 remake of The Man Who Knew Too Much to introduce the filmmaker’s evolutionary development of American masculinity. Psycho-Sexual probes De Palma’s early Vietnam War draft-dodger comedies as well as his film Dressed to Kill, along with Scorsese’s Taxi Driver and Friedkin’s Cruising as reactions to and inventive elaborations upon Hitchcock’s gendered themes and aesthetic approaches. Greven demonstrates how the significant political achievement of these films arises from a deeply disturbing, violent, even sorrowful psychological and social context. Engaging with contemporary theories of pornography while establishing pornography’s emergence during the classical Hollywood era, Greven argues that New Hollywood filmmakers seized upon Hitchcock’s radical decentering of heterosexual male dominance. The resulting images of heterosexual male ambivalence allowed for an investment in same-sex desire; an aura of homophobia became informed by a fascination with the homoerotic. Psycho-Sexual also explores the broader gender crisis and disorganization that permeated the Cold War and New Hollywood eras, reimagining the defining premises of Hitchcock criticism.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)