By Robert Eberwein
In conflict motion pictures, the portrayal of deep friendships among males is typical. Given the sexually apprehensive nature of the yankee mind's eye, such bonds are frequently interpreted as sporting a homoerotic subtext. In militia , Robert Eberwein argues that an multiplied notion of masculinity and sexuality is important on the way to comprehend extra absolutely the intricacy of those excessive and emotional human relationships. Drawing on various examples from silent motion pictures akin to What fee Glory and Wings to sound period works just like the Deer Hunter, Platoon, 3 Kings, and Pearl Harbor , he indicates how shut readings of conflict motion pictures, fairly relating to their cultural contexts, show that depictions of straight love, together with these in romantic triangles, truly support to outline and make clear the nonsexual nature of male love. The publication additionally explores the frustrating features of masculinity and sexuality while threatened by means of wounds, as within the top Years of Our Lives, and considers the complicated and protracted analogy among guns and the male physique, as in complete steel Jacket and Saving deepest Ryan .
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Additional info for Armed Forces: Masculinity and Sexuality in the American War Film
If anything, the repetition of the tableaux demonstrates the opposite of what Ramlow argues. Rather than demonstrating how two men are able to connect erotically through the body of the woman they both love, it shows us in the wounded Jack Bull someone who can simultaneously be in two different kinds of love relationships: the nonerotic bond with his childhood friend and the tie with his girlfriend. The men don’t need Sue Lee to express their affection. In fact, the logic of Ramlow’s argument could be turned against his conclusion.
In some ways it’s the counterpart to Mellen’s assumption that a ﬁlm “is not conscious” of something. ” Checking the available data on the perception of the ﬁlm at the time of its release complicates any attempt to understand what was or could have been known and/or supposed. I know of three comments attributed to director Clarence Brown about his ﬁlm. In an invaluable interview with Kevin Brownlow, he referred directly to his dislike of the happy ending that was shot for the ﬁlm. In this added scene, some time has passed since the death of Felicitas, and Leo is preparing to leave.
Paradoxically, it is the very dread of being unmasculine which causes the suppressed affection of men for each other to be so powerfully homosexual in character. 16 I confess to being skeptical about her comment that “a ﬁlm is unconscious” of something, or that a ﬁlm doesn’t know something about the characters, because it anthropomorphizes the text without acknowledging it as an artifact created by a number of different individuals, produced and marketed by a studio, and received by a heterogeneous audience.