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By Brian Baker

This publication appears at a variety of fiction and picture texts, from the Fifties to the current, with a view to examine the ways that masculinity has been represented in pop culture in Britain and the United States.  It covers a variety of genres, together with secret agent fiction, technological know-how fiction, the Western and police thrillers.  every one bankruptcy specializes in key types of masculinity present in each one style, reminiscent of the 'double agent', the 'rogue cop' and the 'citizen-soldier'.
Brian Baker takes a vast, contextual procedure, putting a close dialogue of key texts and matters relating masculinity of their old and cultural context.  Written in a transparent, available method, it explores the altering illustration of guys over the past fifty years.

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Extra info for Masculinity in Fiction and Film: Representing men in popular genres, 1945-2000

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Cold Warriors 17 This process, however, had begun much earlier. C. Wright Mills, in The Power Elite (1956), suggested that a mass society had been deliberately created in the United States in order to circumvent democratic scrutiny and perpetuate the power and control systems of the military, corporate giants, and the 'political directorate' (which are not elected representatives). The Power Elite analysed the 'military definition of world reality' since World War 2, the way in which the economic and political life of the postwar United States became militarized: The terms in which [the American elite] have defined international reality are predominantly military.

The astronaut, like the MI trooper, is not only a functioning extension of the state and its imperatives, but he is also meant to embody the ideal virtues of its citizens. The rhetoric of the frontier, which we will investigate in greater detail in Chapter 7, is clearly crucial to science fictions that involve contact (and warfare) with alien species. Alasdair Spark suggested that Heinlein should be considered a 'Social Darwinist, whose ideal society is one in which the individual is free to rise to his "natural" level of power, wealth, and authority' (Spark 1990:136).

Dolman also suggests, in the same point, that Heinlein 'admires the special abilities of women and profoundly believes they should be fully and equably integrated into society' (Dolman 1997: 205), which is arguably true of the Federal Service in Starship Troopers. In Heinlein's novel (unlike Verhoeven's film adaptation) there are no female MI troopers; and in both novel and film, physically and mentally women are much better suited to being a spaceship pilot than men. If there is equality, it is of a form that is biologically determined: a female 'fighting man' is suited to a different (if equal) role to her male counterpart.

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