Until Masculine Interests not much had been written about men "as men" in the cinema. Now Robert Lang considers how Hollywood articulates the eroticism that is intrinsic to identification between men. He considers masculinity in social and psychoanalytic terms, maintaining that a major function of the movies is to define different types of masculinity, and to either valorize or criticize these forms. Focusing on several films―primarily The Lion King, The Most Dangerous Game, The Outlaw, Kiss Me Deadly, Midnight Cowboy, Innerspace, My Own Private Idaho, the Batman series, and Jerry Maguire―Lang questions the way in which American culture distinguishes between homosexual and nonhomosexual forms of male bonding. In arguing for a much more complex recognition of the homosocial continuum, he contends that queer sexuality is far more present in American cinema than is usually acknowledged.

Masculine Interests

Humor & Entertainment

Lang, Robert

Movies

Columbia University Press

Until Masculine Interests not much had been written about men "as men" in the cinema. Now Robert Lang considers how Hollywood articulates the eroticism that is intrinsic to identification between men. He considers masculinity in social and psychoanalytic terms, maintaining that a major function of the movies is to define different types of masculinity, and to either valorize or criticize these forms. Focusing on several films―primarily The Lion King, The Most Dangerous Game, The Outlaw, Kiss Me Deadly, Midnight Cowboy, Innerspace, My Own Private Idaho, the Batman series, and Jerry Maguire―Lang questions the way in which American culture distinguishes between homosexual and nonhomosexual forms of male bonding. In arguing for a much more complex recognition of the homosocial continuum, he contends that queer sexuality is far more present in American cinema than is usually acknowledged.

New Tunisian Cinema: Allegories of Resistance (Film and Culture Series)

Tunisian cinema is often described as the most daring of all Arab cinemas. For many, Tunisia appeared to be a model of equipoise between "East" and "West," and yet, during Zine El Abidine Ben Ali's presidency, from 1987 to 2011, the country became the most repressive state in the Maghreb. Against considerable odds, a generation of filmmakers emerged in the mid-1980s to make films that are allegories of resistance to the increasingly illiberal trends that were marking their society.In New Tunisian Cinema, Robert Lang focuses on eight films by some of the nation's best-known directors, including Man of Ashes (1986), Bezness (1992) and Making Of (2006) by Nouri Bouzid, Halfaouine (1990) by Férid Boughedir, The Silences of the Palace (1994) by Moufida Tlatli, Essaïda (1997) by Mohamed Zran, Bedwin Hacker (2002) by Nadia El Fani, and The TV Is Coming (2006) by Moncef Dhouib. He explores the political economy and social, historical, and psychoanalytic dimensions of these works and the strategies filmmakers deployed to preserve cinema's ability to shape debates about national identity. These debates, Lang argues, not only helped initiate the 2011 uprising that ousted Ben Ali's regime but also did much to inform and articulate the aspirations of the Tunisian people in the new millennium.

Tunisian cinema is often described as the most daring of all Arab cinemas. For many, Tunisia appeared to be a model of equipoise between "East" and "West," and yet, during Zine El Abidine Ben Ali's presidency, from 1987 to 2011, the country became the most repressive state in the Maghreb. Against considerable odds, a generation of filmmakers emerged in the mid-1980s to make films that are allegories of resistance to the increasingly illiberal trends that were marking their society. In New Tunisian Cinema, Robert Lang focuses on eight films by some of the nation's best-known directors, including Man of Ashes (1986), Bezness (1992) and Making Of (2006) by Nouri Bouzid, Halfaouine (1990) by Férid Boughedir, The Silences of the Palace (1994) by Moufida Tlatli, Essaïda (1997) by Mohamed Zran, Bedwin Hacker (2002) by Nadia El Fani, and The TV Is Coming (2006) by Moncef Dhouib. He explores the political economy and social, historical, and psychoanalytic dimensions of these works and the strategies filmmakers deployed to preserve cinema's ability to shape debates about national identity. These debates, Lang argues, not only helped initiate the 2011 uprising that ousted Ben Ali's regime but also did much to inform and articulate the aspirations of the Tunisian people in the new millennium.

Megapolitan America: A New Vision for Understanding America’s Metropolitan Geography

With an expected population of 400 million by 2040, America is morphing into an economic system composed of&nbsp;twenty-three 'megapolitan' areas that will dominate the nation's economy by midcentury. These 'megapolitan' areas are networks of metropolitan areas sharing common economic, landscape, social, and cultural characteristics.

Politics & Social Sciences

Nelson, Arthur

Social Sciences

Routledge

Discusses the history, culture, education, and religion of the Pakistanis and describes their problems under British rule and as an independent nation.

The land and people of Pakistan (Portraits of the nations series)

Lippincott

Idolatry

Arts & Photography

Photography & Video

Blurb

The Stage Door Cookbook

Limelight

"The difficulty for men or the impossibility for women of living up to patriarchal society's ideal order is the very stuff of melodrama," writes Robert Lang in this daring work on what the author sees as the central genre of American film. Lang contends that the true melodrama is essentially an Oedipal drama--a dramatization of the ways in which we are all formed within a matrix of familial imperatives. As he interprets them, these imperatives are often crippling reflections of patriarchy. Revealing how melodrama both submits to patriarchal ideology and confronts it, he believes that we can learn from it either how to be happier on its terms--which are the terms of life in Western society--or how to find our way out of the familial labyrinth.
 Lang traces the development of melodrama in the first fifty years of the American cinema by offering detailed interpretations of Griffith's Way Down East, The Mother and the Law, and Broken Blossoms; Vidor's The Crowd, Stella Dallas, and Ruby Gentry; and Minnelli's Madame Bovary, Some Came Running, and Home from the Hill. Drawing on the insights of Irigaray, Kristeva, Deleuze and Guattari, Peter Brooks, and several contemporary film theorists, he focuses on the psychoanalytic aspects of the films to bring us new insights into the way we live our lives.

American Film Melodrama: Griffith, Vidor, Minnelli

Princeton University Press

See the best price to sell, buy, or rent books by Lang, Robert. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Lang, Robert

See the best price to sell, buy, or rent books by Lang, Robert. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Masculine Interests

Masculine Interests

New Tunisian Cinema: Allegories of Resistance (Film and Culture Series)

New Tunisian Cinema: Allegories of Resistance (Film and Culture Series)

New Tunisian Cinema: Allegories of Resistance (Film and Culture Series)

Megapolitan America: A New Vision for Understanding America’s Metropolitan Geography

The land and people of Pakistan (Portraits of the nations series)

Idolatry

The Stage Door Cookbook

American Film Melodrama: Griffith, Vidor, Minnelli