{"title":"“SHIELDING US FROM WHAT WE ARE NOT YET READY TO SEE”","authors":"G. Donnar","doi":"10.2307/j.ctv128fpv2.4","DOIUrl":"https://doi.org/10.2307/j.ctv128fpv2.4","url":null,"abstract":"This chapter examines direct representations of being caught inside terror. Concentrating on Oliver Stone’s 9/11disaster-melodrama World Trade Center (2006), it demonstrates how the eclipse of professional capacity and mobility, focused on Port Authority officers entrapped at “Ground Zero”, profoundly destabilizes male identity. A sub-generic mid-film shift from “disaster epic” to “mine accident” movie seeks to contain (this) terror, making space for the trapped officers’ symbolic restoration to the home as husband-fathers. This recuperation is undercut by subsequent, idealized returns to uniformed “protective” roles by rescuers, which remasculinizes American manhood (and national identity). The chapter finally argues that these already ambivalent recoveries are irretrievably overwhelmed by numerous gaping absences that conclude the film, including of the frighteningly unspecified “terror-Other” attackers. The chapter also examines the imagined experience onboard United Flight 93 in United 93 (2006) and the ambivalent association of male characters with the Twin Towers in 25th Hour (2002).","PeriodicalId":313750,"journal":{"name":"Troubling Masculinities","volume":"94 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129690298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“I DON’T KNOW WHY THIS IS HAPPENING”","authors":"G. Donnar","doi":"10.2307/j.ctv128fpv2.5","DOIUrl":"https://doi.org/10.2307/j.ctv128fpv2.5","url":null,"abstract":"This chapter examines imaginings of living through terror. Cloverfield’s (2008) hand-held amateur camera aesthetic and giant monster’s unmotivated attack on NYC indirectly restages the terror of 9/11. Innovatively recasting the giant monster movie via realist horror locks the audience into the Everyman protagonists’ highly mediated victim-perspective, and foregrounds restricted vision and limited knowledge. Unequipped to professionally counter the monstrous threat, the Everyman’s response is necessarily displaced onto a heroic-redemptive rescue quest. The chapter argues the giant monster exceeds the Everyman/hand-held camera’s capacities to “capture” it, and so remains frighteningly unknowable—for doomed male protagonist and audience alike. Its absolute Otherness thwarts the Everyman’s remasculinization quest and finally confirms he is the monster that requires annihilation. The chapter also explores the shame of the emasculated male in the home invasion horror, The Strangers (2008), and the ambivalent redemption of the working class Everyman in Spielberg’s The War of the Worlds (2005).","PeriodicalId":313750,"journal":{"name":"Troubling Masculinities","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122638538","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“I CAN STILL FIX THIS”","authors":"G. Donnar","doi":"10.2307/j.ctv128fpv2.6","DOIUrl":"https://doi.org/10.2307/j.ctv128fpv2.6","url":null,"abstract":"This chapter examines allegorical representations of living with terror, following large-scale catastrophe. It primarily analyzes a post-apocalyptic science fiction film, I Am Legend (2007), alongside an earlier film adaptation, The Omega Man (1971), and a touchstone film, The World, The Flesh, and The Devil (1959). Released in periods of national crisis, each deploys an iconic male star and a post-apocalypse to study American (and male) anxieties about race, class and gender. The chapter identifies how, in I Am Legend, paternal failure is entwined with the breakdown of society and the “final man” feminized in the succeeding post-apocalypse. The film outwardly assuages “protective” guilt through redemptive male sacrifice that reinvigorates a militarized masculinity. However, the chapter concludes that not only are females ultimately figured as redeemers, but also sacrificial paternal remasculinization irretrievably undermined by the hybrid indeterminacy of the vampire-zombie “terror-Other” and the hero’s becoming America’s most monstrous “terror-Other,” the suicide bomber.","PeriodicalId":313750,"journal":{"name":"Troubling Masculinities","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123186253","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“A VARIATION OF VENGEANCE”","authors":"G. Donnar","doi":"10.2307/j.ctv128fpv2.7","DOIUrl":"https://doi.org/10.2307/j.ctv128fpv2.7","url":null,"abstract":"This chapter examines contrasting reflections on “war on terror,” primarily exploring the action-thriller, The Kingdom (2008), about the FBI investigation into fictional coordinated terror attacks on an American oil workers compound in Saudi Arabia. With foreign and outpost space structured much like a “frontier western,” American masculine identity and sovereignty are numerously undermined in the course of the investigation. The film can only counter this through a jarring final act shift from “forensic procedural” to over-the-top action-war “revenge fantasy.” The bloody annihilation of the Orientalized “terror-Other” mastermind nominally “(re)Americanizes” foreign land and reinstitutes professional agency and militarized masculinity. In comparison with John Ford’s Fort Apache (1948), Munich (2005) and Zero Dark Thirty (2012), the chapter concludes The Kingdom instead confirms the disquieting irresolution of violent revenge, extending terror through blowback and failing to reinvigorate a “protective” paternal masculinity undercut in being the same as America’s “dark mirror,” the Arab terrorist.","PeriodicalId":313750,"journal":{"name":"Troubling Masculinities","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130065541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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