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“I Retract that Bit…”: Hypermasculinity and Violence in Martin McDonagh’s Films
Lit: Literature Interpretation Theory Pub Date : 2019-01-02 , DOI: 10.1080/10436928.2019.1561127
Molly Ferguson

In a restaurant scene during the 2008 film In Bruges, after Ray punches a woman in the face who is defending her date, whom he has also punched, he deflects: “I would never hit a woman! I’d hit a woman who was trying to hit me with a bottle!” (33). The second statement immediately undercuts the first, retracting Ray’s stated values and calling attention to Ray’s idea of himself as the kind of man who would never hit a woman – a fiction that reveals its hypocrisy in the moment of its utterance. Significantly, Ray articulates a chivalric form of masculinity (claiming he would never hit a woman), which is belied by hypermasculinity (by punching the woman). This moment illustrates a key tenet of films written and directed by Martin McDonagh: embattled masculinity represented by an idea presented and then retracted. Thus, repetitive retractions in the films serve as a metaphor signaling the constructed, always-vulnerable nature of contemporary masculinity. Through feminist theories of masculinity as performance and accomplishment, this article addresses how hypermasculinity creates shame, which subsequently drives violence in McDonagh’s films In Bruges (2008) and Three Billboards Outside Ebbing, Missouri (2017). In close-reading these two films, I argue that McDonagh’s technical and thematic use of repetitive retraction – placing an idea on screen only to undermine it – offers a subversive critique of how hypermasculinity propels a cycle of violence. Characters in the films must accomplish masculinity, an effort that becomes humorous when made visible. By conspicuously staging and then removing hypermasculine utterances, McDonagh’s films suggest the potential for alternative forms of masculinity that allow men to connect with others and exercise their emotional range, such as fatherhood and friendship. McDonagh built his career as an Anglo-Irish playwright, earning a following for writing black comedies set in Ireland including The Beauty Queen of Leenane (1996) and The Lieutenant of Inishmore (2001). He then turned to writing and directing films, notably winning an Academy Award in 2006 for

中文翻译:

“我缩回那一点……”:马丁·麦克唐纳电影中的男性气概和暴力

在2008年电影《在布鲁日》中的一家餐厅里,雷一拳打了一个捍卫自己约会的女人的脸(他也打了拳)后,他偏转道:“我永远不会打女人!我撞到了一个想用瓶子打我的女人!” (33)。第二个陈述立即削弱了第一个陈述,撤回了Ray的既定价值观,并引起人们对Ray自己的想法,即自己是永远不会打败女人的男人的念头-这种虚构在说话时即表现出虚伪。值得注意的是,雷表达了一种男子气概的男子气概(声称他永远不会打女人),而男子气概(通过打拳打法)掩盖了这种气概。这一刻说明了马丁·麦克唐纳(Martin McDonagh)执导的电影的主要宗旨:四面楚歌的男子气概由提出并撤回的想法代表。从而,电影中的重复缩回是一个隐喻,象征着当代男性气概的结构化,永远脆弱的本质。通过将阳刚之气作为表现和成就的女权主义理论,本文论述了阳刚之气如何造成耻辱,随后麦克唐纳的电影《布鲁日》(2008年)和《密苏里州艾伯丁的三个广告牌》(2017年)引发了暴力。在仔细阅读这两部电影时,我认为麦克唐纳在技术上和主题上对重复性回缩的使用(仅在屏幕上破坏一个主意)就颠覆性地批评了男性气质如何推动暴力循环。电影中的角色必须具有阳刚之气,这种努力在可见时会变得幽默。通过显着地进行演出,然后消除男性过度表达,麦克唐纳的电影暗示了男子气概的另类形式的潜力,这些男子气概可以使男人与他人建立联系并行使其情感范围,例如父亲身份和友谊。McDonagh的职业生涯是担任盎格鲁爱尔兰剧作家,他因在爱尔兰创作黑喜剧而获得追随者,其中包括《美丽的女王勒纳娜》(The Beauty Queen of Leenane,1996年)和《中尉的因斯莫尔》(Inishmore)(2001年)。然后,他转向写作和导演电影,尤其是在2006年获得奥斯卡金像奖
更新日期:2019-01-02
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