ABSTRACT This essay identifies a trend present since 2013 in Hollywood, exemplified by Gone Girl (2014), Foxcatcher (2014), Whiplash (2014), Birdman (2014), Nightcrawler (2014), and I, Tonya (2017). Amongst the various things these films have in common, I give special attention to how each features a protagonist engaged in competitive performance, and also in an abusive relationship. This coupling driving each of the films allows us to make a critical reflection upon neoliberalism, which is distinguished by the objective to expand competition into all spheres of life. Lingering on both the cruelty and the performance that competition can involve, these films dramatize certain ways of feeling that register a series of changes from the humanist individualism that informed classical Hollywood. This essay seeks to show how neoliberalism fosters these changes, and how much they alter previously common distinctions between work and intimacy, the notion of an authenticating, indivisible self, and belief in progress and objective reality.

中文翻译：

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表演焦虑：竞争自我和好莱坞残酷电影

摘要本文确定了2013年以来好莱坞的一种趋势，例如Gone Girl（2014），Foxcatcher（2014），Whiplash（2014），Birdman（2014），Nightcrawler（2014）和I，Tonya（2017）。在这些影片的共同点中，我特别关注每部影片中扮演主角的人如何参与竞争表演，以及虐待关系。驱动每一部电影的这种耦合使我们能够对新自由主义进行批判性反思，新自由主义的特点是将竞争扩大到生活的各个领域。这些电影在残酷和竞争可能涉及的表现之间徘徊，这些戏剧化了某些感觉方式，这些感觉记录了从古典好莱坞传承的人文主义个人主义的一系列变化。