Imperial Affects is the first sustained account of American action-based cinema as melodrama. From the earliest war films through the Hollywood Western and the late-century action cinema, imperialist violence and mobility have been produced as sites of both visceral pleasure and moral virtue. Suffering and omnipotence operate as twinned affects in this context, inviting identification with an American national subject constituted as both victimized and invincible-a powerful and persistent conjunction traced here across a century of cinema.
Imperial Affects is the first sustained account of American action-based cinema as melodrama. From the earliest war films through the Hollywood Western and the late-century action cinema, imperialist violence and mobility have been produced as sites of both visceral pleasure and moral virtue. Suffering and omnipotence operate as twinned affects in this context, inviting identification with an American national subject constituted as both victimized and invincible-a powerful and persistent conjunction traced here across a century of cinema.
JONNA EAGLE is an assistant professor of American studies at the University of Hawai’i at M¿noa.
Inhaltsangabe
Introduction Making Sense: The Moral and Affective Appeals of Melodrama • The Felt Good of Melodrama • Affective Attunement and the Structuring of Feeling • Visceral Politics • Imperial Affects 1. A Rough Ride: Cinema, War, and the Strenuous Life • Theodore Roosevelt and the Discourse of the Strenuous Life • Strenuous Spectacle in the Theater of War • Strenuous Spectatorship and the Early Cinema of Assaults 2. Manifest Destiny in Action: Sensational Melodrama and the Advent of the Western • Sensational Melodrama and Western Attractions • The Visceral and Moral Thrills of Western Action • Moving Men: Heroic Action and the Morality of Motion 3. Western Weepies: The Power of Pathos in the Cold War Western • Questioning Authority: Masculinity, Morality, and the Cold War Western
• The White Man’s Indian: Race and Redemption in the Pro-Indian Cycle • “What am I supposed to do, cry Feel sorry for him ” • Suffer and Be Hard: The Power of Pathos 4. The Subject of Imperiled Privilege: Victimization and Violence in Late-Century Action Cinema • Spectacular Agonies, Sensational Redemptions: Rambo as Melodrama • Lethal Weapon, Die Hard, and the New Pleasures of Action • There’s No Place Like Home: Falling Down and the Subject of Imperiled Privilege • Beyond Forgiveness: Unforgiven and the Limitations of Critique Epilogue To Be Real: Virtual Violence in the Twenty-First Century Acknowledgments Notes Selected Bibliography Index
Introduction Making Sense: The Moral and Affective Appeals of Melodrama • The Felt Good of Melodrama • Affective Attunement and the Structuring of Feeling • Visceral Politics • Imperial Affects 1. A Rough Ride: Cinema, War, and the Strenuous Life • Theodore Roosevelt and the Discourse of the Strenuous Life • Strenuous Spectacle in the Theater of War • Strenuous Spectatorship and the Early Cinema of Assaults 2. Manifest Destiny in Action: Sensational Melodrama and the Advent of the Western • Sensational Melodrama and Western Attractions • The Visceral and Moral Thrills of Western Action • Moving Men: Heroic Action and the Morality of Motion 3. Western Weepies: The Power of Pathos in the Cold War Western • Questioning Authority: Masculinity, Morality, and the Cold War Western
• The White Man’s Indian: Race and Redemption in the Pro-Indian Cycle • “What am I supposed to do, cry Feel sorry for him ” • Suffer and Be Hard: The Power of Pathos 4. The Subject of Imperiled Privilege: Victimization and Violence in Late-Century Action Cinema • Spectacular Agonies, Sensational Redemptions: Rambo as Melodrama • Lethal Weapon, Die Hard, and the New Pleasures of Action • There’s No Place Like Home: Falling Down and the Subject of Imperiled Privilege • Beyond Forgiveness: Unforgiven and the Limitations of Critique Epilogue To Be Real: Virtual Violence in the Twenty-First Century Acknowledgments Notes Selected Bibliography Index
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