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.
Abstract
Netflix’s reboot series Cobra Kai (2018–present) depicts an intergenerational negotiation of masculinities as the men from the original Karate Kid mentor Gen Z students. Reagan-era masculine norms and measures of manhood are tested by the teens as they face twenty-first-century challenges. Static performances of masculinity fail to meet the demands of new situations; thus, the mentors and the teens alike seek flexibility instead of a winner-takes-all approach.
Abstract
Bernarr Cooper (1912–1999) led the Bureau of Mass Communications of the New York State Education Department from 1962 to 1982. During its heyday—roughly between 1970 and 1980—the Bureau produced or coproduced more than 1,500 educational programs, distributed widely to public schools and libraries across the state of New York. This article draws the story of Cooper and the Bureau out of the annals of New York State history, making it meaningful to the interrelated histories of mass communication, popular television, education, and public health.
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