For the reading today, Dyer in Stars discusses the way in which stars and specifically stars
bodies can embody culture. He discusses Jamie Lee Cutis’s hyper-fit, Olympian
body in Perfect as a symbol for the
time period’s fitness obsessed culture. Similarly,
I think you can see a similar epidemic in the 1990s where bodies – female bodies
– moved away from being “fit-looking” or curvaceous and moved to more slim,
rail looking bodies. Think Calista Flockhart in Ally McBeal. Jennifer Aniston and Courtney Cox in the early seasons
of Friends. And of course,
supermodels, who were at the height of their cultural impact in the 1990s and
early 2000s. At this time, Kate Moss in particular became the epitope for the
hyper-slender, “heroin chic” look, coining the phrase, “Nothing tastes as
skinny feels.” Today, I’m not sure if I can give a definitive example of star
bodies that represent culture. We see more options in the star bodies portrayed
in media, which allows more a range of culture and examples. There’s Kim
Kardashian’s body, which represents the kind of brand, obsessed, celebrity
obsessed culture of today. You have the Hemsworths’s that represent that old
school “hard bodies” action hero type. You also have some alternatives like the
Dadbod, the nerdy Michael Cera type, Amy Schumer, etc. Not a complete picture
of culture but something with a wider range.
In terms of masculinity and male bodies – in the reading
today, “Terminal Masculinity: Men in the Early 1990s,” Jeffords explores the
shift in white male heroes from the physical, all action man of the 1980s to
the sensitive, tortured family man of the 1990s. Both kinds of male heroes in
the 80s and 90s have muscular, "hard bodies." However, in the 80s these
heroes are physical and driven purely by external obstacles. They break down
doors, punch bad guys, blow up buildings. In the 90s, these heroes also face internal obstacles. They must change into a better person by solving their familial
and emotional issues. Jeffords describes this as
the white man’s “burden” to not only save the day but save himself from being
“unloved.” As Jeffords notes, I think you can really see this in Die Hard, (a
film I recently watched and I was subsequently bored by). Bruce Willis plays John
Mclane, a troubled ex-cop who goes to meet his wife, Holly, at her office building in
order to try and save their marriage. In the beginning of this film, Mclane feels unloved. He’s unhappy
that he isn’t a priority for her. She cares about her job too much. And in response, he
isn’t going to be emotional available for her. You know all the issues that
misunderstood white guys feel about their successful career driven wives. Unfortunately for them, the office building gets taken hostage by German terrorists. Massive bummer for John and Holly. And while
for the bulk of the film, Willis doesn’t have to talk very much to his wife –
he’s too busy trying to save her and co-workers of Alan Rickman – he does
discover that he is in love with his wife and he needs to try harder to make
her happy. He realizes it's him and not who has had the problem all this time. Thus making his
transformation from hard body to sensitive family man complete.
Here is Die Hard's John Mclane apologizing to his wife for "what a jerk he's been."
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