Authors and Corporations: | , , |
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In: | Interactions: Studies in Communication & Culture, 6, 2015, 3, p. 287-301 |
published: |
Intellect
|
Media Type: | Article, E-Article |
Physical Description: | 287-301 |
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ISSN: |
1757-2681
1757-269X |
DOI: | 10.1386/iscc.6.3.287_1 |
published in: | Interactions: Studies in Communication & Culture |
Language: | English |
Subjects: | |
Collection: | Intellect (CrossRef) |
<jats:title>Abstract</jats:title> <jats:p>Space is a vantage point from which masculinity can be critiqued and understood. Documentary film-makers employ specific mode(s) to relate space to masculinity by positioning themselves vis-à-vis the interviewees, and the interviewees vis-à-vis the viewers. A financial crisis may threaten the hegemonic masculinity embodied by Wall Street’s lonesome cowboys and provide a chance for film-makers to critique this type of masculinity. This article analyses three documentary films, I.O.U.S.A., Capitalism: A Love Story and Floored, which were released after the 2008 economic crisis in the United States. The films contain three prototypes: the lonesome cowboy; white, working-class masculinity; and hypermasculinity. These films may portend a new masculinity that prioritizes intellectual bravado, geek masculinity.</jats:p> |