{"title":"“Guns Go in the Cookie Jar”: Parody, Nostalgia, and the Post-Hardware Heroine","authors":"Aleksander Szaranski","doi":"10.1080/01956051.2023.2190077","DOIUrl":null,"url":null,"abstract":"<p><b>Abstract</b></p><p>The post-hardware heroine is argued to be the latest revision of action heroines since the 1990s, emerging into a parodic postmodern paradigm that recalls compensatory reactions exhibited by the “beefcake” cinema of the 1980s that is inextricably caught up in nostalgia and desire. For Yvonne Tasker, muscular, built male bodies the likes of Schwarzenegger and Stallone are reactions to a then-new male encounter with the cinematic gaze, while Scott Bukatman argues they are reactions to technology and the rising posthuman. Post-hardware heroines, as such, are not only imbued with a nostalgia for the hardware heroines that first subverted male action roles of the 1990s, but actively parody the iterative history from which they appear in a fashion evocative of the waning postmodern moment. Contemporary action films <i>Atomic Blonde</i> (2017)<i>, Anna</i> (stylized <i>ANИA</i>, 2019)<i>, Gunpowder Milkshake</i> (2021), and <i>Jolt</i> (2021) are argued to mark the emergence of the post-hardware heroine and represent the new parodic paradigm in which they operate. By transgressing and subverting narrative roles occupied by gendered performances, these films look toward an action cinema that blurs the boundaries of gender and leaves behind the visual pleasures of the body.</p>","PeriodicalId":44169,"journal":{"name":"JOURNAL OF POPULAR FILM AND TELEVISION","volume":"6 11","pages":""},"PeriodicalIF":0.5000,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"JOURNAL OF POPULAR FILM AND TELEVISION","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/01956051.2023.2190077","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
引用次数: 0
Abstract
The post-hardware heroine is argued to be the latest revision of action heroines since the 1990s, emerging into a parodic postmodern paradigm that recalls compensatory reactions exhibited by the “beefcake” cinema of the 1980s that is inextricably caught up in nostalgia and desire. For Yvonne Tasker, muscular, built male bodies the likes of Schwarzenegger and Stallone are reactions to a then-new male encounter with the cinematic gaze, while Scott Bukatman argues they are reactions to technology and the rising posthuman. Post-hardware heroines, as such, are not only imbued with a nostalgia for the hardware heroines that first subverted male action roles of the 1990s, but actively parody the iterative history from which they appear in a fashion evocative of the waning postmodern moment. Contemporary action films Atomic Blonde (2017), Anna (stylized ANИA, 2019), Gunpowder Milkshake (2021), and Jolt (2021) are argued to mark the emergence of the post-hardware heroine and represent the new parodic paradigm in which they operate. By transgressing and subverting narrative roles occupied by gendered performances, these films look toward an action cinema that blurs the boundaries of gender and leaves behind the visual pleasures of the body.
期刊介绍：
How did Casablanca affect the home front during World War II? What is the postfeminist significance of Buffy the Vampire Slayer? The Journal of Popular Film and Television answers such far-ranging questions by using the methods of popular culture studies to examine commercial film and television, historical and contemporary. Articles discuss networks, genres, series, and audiences, as well as celebrity stars, directors, and studios. Regular features include essays on the social and cultural background of films and television programs, filmographies, bibliographies, and commissioned book and video reviews.
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