Download Gender and Genre: Essays on David Mamet by Christopher Hudgins, Leslie Kane PDF

By Christopher Hudgins, Leslie Kane

Severe and well known debate approximately Mamet’s paintings usually facilities at the meanings of his misogynist, unloving personality. The essays during this assortment procedure those arguable themes of gender and style with verve, starting from these which forged Mamet as a misogynist to these which comprehend his paintings as deeply ironic or even feminist. The individuals study performs from the early Sexual Perversity in Chicago to the new Jolly, motion pictures, condominium of video games and murder, and Mamet’s first novel, The Village.

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Gender and Genre: Essays on David Mamet

Severe and renowned debate approximately Mamet’s paintings usually facilities at the meanings of his misogynist, unloving personality. The essays during this assortment technique those debatable subject matters of gender and style with verve, starting from these which solid Mamet as a misogynist to these which comprehend his paintings as deeply ironic or even feminist.

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Roudané. Studies in American Drama, 1945-Present 1 (1986): 73–81. com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-24 15. Although Laura Mulvey initially conceptualized the male gaze, which was to undergird feminist film and drama criticism, she has since urged evolution beyond this ironically binary perspective, an evolution that most drama critics ignore but that Mamet seems to suggest. Janet V. Haedicke ———. ” American Voices: Five Contemporary Playwrights in Essays and Interviews.

I]t is here, after having all previous concepts of himself erased, that he at last is able to struggle toward a new sense of himself and of his position in society, to come to terms with what he accepts as inevitable.

A prison film is “the thing” (10) since it contains “Action, blood, a social theme . ”(13), a standard that authorizes not only sexism but racism and homophobia (“And the black guys going to rape his ass” [11]). Though Gould at play’s opening has decried his job as a “monster,” a wilderness territory between “‘Art’” and “‘Entertainment’” (3), he succumbs to Fox’s proposal to co-produce this shameless paean to a male gaze as tribute to their friendship. Gould’s assertion that “Money is not Gold” (21) because theirs is a “People Business” (22) facilely yields to Fox’s that “We’re gonna kick the ass of a lot of them fucken’ people” (22).

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