By Michael DeAngelis
Why and the way does the attraction of convinced male Hollywood stars pass over from directly to homosexual audiences? Do stars lose their cachet with directly audiences once 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 approach, he lines a fifty-year heritage of viewers reception that strikes homosexual male fandom a long way past the area of “camp” to areas the place culturally unauthorized fantasies are nurtured, constructed, and shared.DeAngelis examines numerous cultural records, together with studio exposure and promotional campaigns, celebrity biographies, scandal magazines, and picture stories, 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 megastar myth narratives of the previous decade. on the center of this shut old examine are remedies of specific movie narratives, together with East of Eden, insurgent and not using a reason, the line Warrior, deadly Weapon, my very own deepest Idaho, and pace. 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 renowned culture.In addition to enthusiasts of James Dean, Mel Gibson, and Keanu Reeves, these attracted to movie background, cultural experiences, pop culture, queer conception, gender experiences, sociology, psychoanalytic thought, melodrama, fable, and fandom will get pleasure from this booklet.
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Extra resources for Gay Fandom and Crossover Stardom: James Dean, Mel Gibson, and Keanu Reeves
Example text
8 These conservative efforts justified the State Department’s actions in when it declared that homosexuals were unsuitable for government employment because of potential susceptibility to blackmail threats. 9 Moreover, in the context of the Cold War hysteria of the late s and s, the homosexual was determined to be further unfit for government service not just because of his lack of emotional stability, but also because his behavior revealed a weakness of character at a time when it was deemed crucial to maintain a ‘‘moral fiber’’ strong enough to ward off corrupting external political influences.
Astrachan also establishes a connection between social and cultural discourses regarding two prominent social ‘‘problems’’ of the s—homosexuality and the alienation and rebellion of youth, configured as ‘‘juvenile delinquency’’—through recourse to the concept of identity. This connection becomes crucial in the representation of the star’s sexuality, in light of contemporary discourses of rebellion and delinquency informing each of Dean’s three major film roles, most evidently in Rebel Without a Cause (), but also in East of Eden () and Giant ().
The latter group attempted to take control of the sign of homosexuality by adopting a discourse of rebellion most clearly linked to youth culture and the problem of juvenile delinquency. In doing so, they began to assume control over the construction of their own identities, and they articulated reception strategies for the construction and identification of visible homosexual role models in culture. Gay Resistance and Assimilation in the s The Los Angeles-based Mattachine Society was founded in in an effort to assert the status of homosexuals as an oppressed minority.
