By Robert Eberwein
In battle movies, the portrayal of deep friendships among males is regular. Given the sexually apprehensive nature of the yankee mind's eye, such bonds are usually interpreted as wearing a homoerotic subtext. In military , Robert Eberwein argues that an elevated notion of masculinity and sexuality is critical as a way to comprehend extra absolutely the intricacy of those extreme and emotional human relationships. Drawing on quite a number examples from silent movies akin to What cost Glory and Wings to sound period works just like the Deer Hunter, Platoon, 3 Kings, and Pearl Harbor , he exhibits how shut readings of conflict movies, relatively with regards to their cultural contexts, show that depictions of hetero love, together with these in romantic triangles, truly aid to outline and make clear the nonsexual nature of male love. The ebook additionally explores the complex points of masculinity and sexuality while threatened via wounds, as within the top Years of Our Lives, and considers the complicated and chronic analogy among guns and the male physique, as in complete steel Jacket and Saving inner most Ryan .
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Additional info for Armed Forces: Masculinity and Sexuality in the American War Film
Women used communally by the same men (either two rivals or a group of males) offer a means to connect sexually in a way that masks the actual repressed erotic desires. ” This, “like many other buddy, action, and/or war ﬁlms . . celebrates masculinity and male homosocial bonds while negating their shadowy other, male homosexual bonds. ” The ﬁlm uses various comic moments as “inoculation, wherein counter-hegemonic ideas are addressed in order to be contained. . ”5 Such a view is consonant with the perspective offered by Eve Kosofsky Sedgwick’s theory of male sexuality.
But Cimino’s point here is not to suggest a homosexual attraction between the men. For as Nick and Mike look at Linda, another scenario is being played out with Stanley, one that suggests something about his sexuality in a way that deﬁnes the relationship between Mike and Nick. While Nick and Mike look guardedly at Linda, Stanley becomes increasingly enraged with his date. He socks her when the bandleader makes a pass at her. His jealousy seems excessive, almost compensatory for what I suspect are deep feelings of sexual inadequacy and repressed homosexuality.
The second is a variant of Girard’s triangular framework involving the relationships of men who are rivals for the affection of the same woman. She describes Girard’s idea of the calculus of power that was structured by the relation of a rivalry between the two active members of an erotic triangle. . [I]n any erotic rivalry, the bond that links the two rivals is as intense and potent as the bond that links either of the rivals to the betrothed. . Girard ﬁnds many examples in which the choice of the beloved is determined in the ﬁrst place, not by the qualities of the beloved, but by the beloved’s already being the choice of the person who has been chosen as a rival.
Armed Forces: Masculinity and Sexuality in the American War Film by Robert Eberwein