The Return of the Unrepressed: Male Desire, Gender, and Genre.
The article presents an essay to interrogate some aspects of masculine desire through an investigation of the relationship of male viewers to particular types of television programming. The last decade in television programming for the supposedly "masculine audience" is a good indication of patriarc...
| Publicado en: | Quarterly Review of Film & Video Vol. 14; no. 1/2; pp. 125 - 148 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Jul1992
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=16916392&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 16916392 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 10509208 QFV jtl: Quarterly Review of Film & Video issn: 10509208 maglogo: Y pubinfo: dt: Jul1992 vid: 14 iid: 1/2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 16916392 10.1080/10509209209361398 ppf: 125 ppct: 23 formats: tig: atl: The Return of the Unrepressed: Male Desire, Gender, and Genre. aug: au: Deming, Robert affil: Professor of English, Film and Cultural Studies, Department of English of the State University of New York College, Fredonia. su: Television broadcasting Masculinity Sex differences (Biology) Thirtysomething (TV program) Mass media Melodrama sug: subj: Television broadcasting Masculinity Sex differences (Biology) Thirtysomething (TV program) Mass media Melodrama ab: The article presents an essay to interrogate some aspects of masculine desire through an investigation of the relationship of male viewers to particular types of television programming. The last decade in television programming for the supposedly "masculine audience" is a good indication of patriarchy's "interest" in going against itself, of insisting that sexual or gender difference is the only difference that makes a difference and that "circumstantial differences" do not matter. It is also a decade that demonstrates the ways in which the social standards of masculinity are not only chosen but "natural." It is a short step from that statement to working out the relationship of masculinity to family within television program Thirtysomething. The author says that what interests him is not just the purchase on the melodramatic in that program, and in Wise Guy, but also the ways in which class and ethnic discourses and differences cross their narratives. Men in both programs function like post-feminist male action heroes. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 1992 holdings: @attributes: islocal: N |
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