{"title":"“新冷战”中的白人男子气概:将《洛奇4》和《白夜》解读为多向记忆","authors":"D. Valkanova","doi":"10.1080/15295036.2022.2059540","DOIUrl":null,"url":null,"abstract":"ABSTRACT Studies of films of the 1980s have noted a tendency towards “ideological conglomeration”—the presence of multiple contradictory ideological registers. This article argues that 80s films’ “ideological conglomeration” is made legible and coherent through Michael Rothberg’s (2009, Multidirectional memory: Remembering the Holocaust in the age of decolonization. Stanford University Press) concept of multidirectional memory. It thus proceeds to apply a theoretical framework of multidirectional memory to the analysis of two “New Cold War” films—Sylvester Stallone’s Rocky IV (1985) and Taylor Hackford’s White Nights (1985). Reading Rocky IV through a lens of multidirectional memory allows us to perceive links between the “New Cold War,” U.S. racializing logics, and the racializing schemas of the Nazi regime. In White Nights an analytic of multidirectional memory foregrounds the connections between Little Rock, Arkansas, the 1968 Democratic National Convention, and the displacement of the associated discourses of state brutality, racism, and accountability onto the Soviet Union. The article concludes that multidirectional memory offers a generative theoretical framework for the study of the cinema of the “New Cold War” that illuminates how films link U.S. Cold War and racial logics to secure the hegemony of white masculinity.","PeriodicalId":47123,"journal":{"name":"Critical Studies in Media Communication","volume":null,"pages":null},"PeriodicalIF":1.1000,"publicationDate":"2022-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"White masculinity in the “New Cold War”: reading Rocky IV and White Nights as multidirectional memories\",\"authors\":\"D. Valkanova\",\"doi\":\"10.1080/15295036.2022.2059540\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT Studies of films of the 1980s have noted a tendency towards “ideological conglomeration”—the presence of multiple contradictory ideological registers. This article argues that 80s films’ “ideological conglomeration” is made legible and coherent through Michael Rothberg’s (2009, Multidirectional memory: Remembering the Holocaust in the age of decolonization. Stanford University Press) concept of multidirectional memory. It thus proceeds to apply a theoretical framework of multidirectional memory to the analysis of two “New Cold War” films—Sylvester Stallone’s Rocky IV (1985) and Taylor Hackford’s White Nights (1985). Reading Rocky IV through a lens of multidirectional memory allows us to perceive links between the “New Cold War,” U.S. racializing logics, and the racializing schemas of the Nazi regime. In White Nights an analytic of multidirectional memory foregrounds the connections between Little Rock, Arkansas, the 1968 Democratic National Convention, and the displacement of the associated discourses of state brutality, racism, and accountability onto the Soviet Union. The article concludes that multidirectional memory offers a generative theoretical framework for the study of the cinema of the “New Cold War” that illuminates how films link U.S. Cold War and racial logics to secure the hegemony of white masculinity.\",\"PeriodicalId\":47123,\"journal\":{\"name\":\"Critical Studies in Media Communication\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":1.1000,\"publicationDate\":\"2022-04-25\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Critical Studies in Media Communication\",\"FirstCategoryId\":\"98\",\"ListUrlMain\":\"https://doi.org/10.1080/15295036.2022.2059540\",\"RegionNum\":2,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q3\",\"JCRName\":\"COMMUNICATION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Critical Studies in Media Communication","FirstCategoryId":"98","ListUrlMain":"https://doi.org/10.1080/15295036.2022.2059540","RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"COMMUNICATION","Score":null,"Total":0}
White masculinity in the “New Cold War”: reading Rocky IV and White Nights as multidirectional memories
ABSTRACT Studies of films of the 1980s have noted a tendency towards “ideological conglomeration”—the presence of multiple contradictory ideological registers. This article argues that 80s films’ “ideological conglomeration” is made legible and coherent through Michael Rothberg’s (2009, Multidirectional memory: Remembering the Holocaust in the age of decolonization. Stanford University Press) concept of multidirectional memory. It thus proceeds to apply a theoretical framework of multidirectional memory to the analysis of two “New Cold War” films—Sylvester Stallone’s Rocky IV (1985) and Taylor Hackford’s White Nights (1985). Reading Rocky IV through a lens of multidirectional memory allows us to perceive links between the “New Cold War,” U.S. racializing logics, and the racializing schemas of the Nazi regime. In White Nights an analytic of multidirectional memory foregrounds the connections between Little Rock, Arkansas, the 1968 Democratic National Convention, and the displacement of the associated discourses of state brutality, racism, and accountability onto the Soviet Union. The article concludes that multidirectional memory offers a generative theoretical framework for the study of the cinema of the “New Cold War” that illuminates how films link U.S. Cold War and racial logics to secure the hegemony of white masculinity.
期刊介绍:
Critical Studies in Media Communication (CSMC) is a peer-reviewed publication of the National Communication Association. CSMC publishes original scholarship in mediated and mass communication from a cultural studies and/or critical perspective. It particularly welcomes submissions that enrich debates among various critical traditions, methodological and analytical approaches, and theoretical standpoints. CSMC takes an inclusive view of media and welcomes scholarship on topics such as • media audiences • representations • institutions • digital technologies • social media • gaming • professional practices and ethics • production studies • media history • political economy. CSMC publishes scholarship about media audiences, representations, institutions, technologies, and professional practices. It includes work in history, political economy, critical philosophy, race and feminist theorizing, rhetorical and media criticism, and literary theory. It takes an inclusive view of media, including newspapers, magazines and other forms of print, cable, radio, television, film, and new media technologies such as the Internet.