Abstract The paper explores the representation of ageing white men in 21st-century European art cinema in the socio-cultural context of the series of crises that European societies had to face in the first decades of the new millennium. In Europe ageing is a growing concern, which already influences economic productivity and further endangers the welfare system. Ageing white men, who used to belong to the hegemonic majority of society during their active period, are often disoriented and frustrated by rapid technological development, social changes, shifts in social values or the failures of the welfare system. This paper, through the analysis of Tyrannosaur (Paddy Considine, 2011), I, Daniel Blake (Ken Loach, 2016) and A Man Called Ove (Hannes Holm, 2015), explores the ways these issues are represented in contemporary European cinema. The films of this period often depict the disappearance of an old life-world, together with its old sense of community and its old types of men. Thus, these films tend to be critical of globalized modern societies, and often reveal both the vulnerability and the potential destructiveness of these vanishing masculinities.

中文翻译：

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危机后欧洲电影中的愤怒老人

摘要 本文探讨了在新千年头几十年欧洲社会不得不面对的一系列危机的社会文化背景下，老年白人男性在 21 世纪欧洲艺术电影中的表现。在欧洲，老龄化问题日益严重，它已经影响经济生产力并进一步危及福利体系。老年白人男性在活跃时期曾经属于社会的霸权多数，但他们常常因技术的快速发展、社会变革、社会价值观的转变或福利制度的失败而迷失方向和沮丧。本文通过对霸王龙 (Paddy Considine, 2011)、I、Daniel Blake (Ken Loach, 2016) 和 A Man Called Ove (Hannes Holm, 2015) 的分析，探讨这些问题在当代欧洲电影中的表现方式。这一时期的电影经常描绘一个旧生活世界的消失，以及它的旧社区意识和旧类型的男人。因此，这些电影倾向于批评全球化的现代社会，并经常揭示这些正在消失的男性气质的脆弱性和潜在的破坏性。