By Michael DeAngelis
Why and the way does the charm of sure male Hollywood stars move over from immediately to homosexual audiences? Do stars lose their cachet with instantly audiences after they move over? In homosexual Fandom and Crossover Stardom Michael DeAngelis responds to those questions with a provocative research of 3 recognized actors—James Dean, Mel Gibson, and Keanu Reeves. within the procedure, he lines a fifty-year historical past of viewers reception that strikes homosexual male fandom some distance past the world of “camp” to areas the place culturally unauthorized fantasies are nurtured, built, and shared.DeAngelis examines numerous cultural files, together with studio exposure and promotional campaigns, megastar biographies, scandal magazines, and movie reports, in addition to homosexual political and fan literature that levels from the closeted pages of 1 and Mattachine assessment within the Nineteen Fifties to the very “out” dish columns, listserv postings, and online famous person delusion narratives of the earlier decade. on the center of this shut old research are remedies of specific movie narratives, together with East of Eden, insurgent with no reason, the line Warrior, deadly Weapon, my very own inner most Idaho, and velocity. utilizing theories of delusion and melodrama, homosexual Fandom and Crossover Stardom demonstrates how studios, brokers, or even stars themselves frequently actively facilitate an audience’s strategic blurring of the already tenuous contrast among the heterosexual mainstream and the homosexual margins of yankee well known culture.In addition to lovers of James Dean, Mel Gibson, and Keanu Reeves, these drawn to movie historical past, cultural experiences, pop culture, queer conception, gender reports, sociology, psychoanalytic conception, melodrama, myth, and fandom will get pleasure from this booklet.
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Additional info for Gay Fandom and Crossover Stardom: James Dean, Mel Gibson, and Keanu Reeves
As such, it certainly could not constitute an acceptable mode of resistance to a culture that overemphasized the necessity of social conformity. 42 Certainly, the ’s upholding of the prohibition against the representation of ‘‘sexual perversion’’ until provides the clearest explanation for its virtual absence in Hollywood cinema of the s. Still, homosexuality was exploited thematically to a limited extent during the decade. 43 If the sign of homosexuality was made visible, then, its visibility emerged only through unsuccessful attempts to render it absent.
Whereas Astrachan reveals a certain scorn and disdain for the aimlessness of both ﬁgures, he concedes that he is willing to ‘‘sympathize’’ with Brando, because of both the actor’s considerable talents and the moral capacities he demonstrates through his character portrayals. ’’ 2 The widespread appeal of Dean’s onscreen and oﬀscreen personas is more disconcerting for Astrachan: ‘‘In each of the Dean roles, the distinguishing elements are the absence of his knowing who he is, and what is right and wrong.
The texts of James Dean’s star The Fantasy of Rebellion persona articulate the stages of rebellion through the melodramatic fantasy of origin in ways that were arguably particularly appealing to gay male spectators of the s. In the structure of the family melodrama, which comprises each of Dean’s three Warner Bros. ﬁlms, the various manifestations of the fantasy of origin are set into a system of conﬂict. David Rodowick argues that the family melodrama is typiﬁed by a displacement of problems of social and institutional authority onto the domestic setting.