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the damaged male and the contemporary american war film

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<strong>the</strong> psychology of our central <strong>male</strong> character. This means that <strong>the</strong>ir psychosis/trauma/collapse<br />

cannot help but become spectacular. The <strong>film</strong> becomes one long drawn out sigh or scream of<br />

despair.<br />

Since <strong>the</strong> <strong>damaged</strong> <strong>male</strong> seems to be a ubiquitous presence throughout cinematic history,<br />

fur<strong>the</strong>r delineation <strong>and</strong> fleshing out of this concept is required. It is clear that <strong>the</strong> concept of<br />

<strong>the</strong> <strong>damaged</strong> <strong>male</strong> is a little simplistic, <strong>and</strong> so <strong>the</strong>refore we are more precisely dealing with<br />

what may be considered <strong>the</strong> determining synecdoche of mainstream US national identity,<br />

namely, <strong>the</strong> <strong>damaged</strong> white <strong>male</strong>, or <strong>the</strong> white <strong>male</strong> as victim. 35 Therefore, it is not just his<br />

damage, but crucially <strong>the</strong> <strong>male</strong>’s whiteness intersecting with victimhood that encapsulates <strong>and</strong><br />

renders au<strong>the</strong>ntic his national identity, his Americanness. It has been argued that ‘<strong>the</strong> history<br />

<strong>and</strong> tradition of <strong>the</strong> United States is replete with relentless efforts to retain <strong>and</strong> guard <strong>the</strong><br />

boundaries of nationality with whiteness’. 36 So <strong>the</strong> exemplary American is one who is white,<br />

but not only this, when this whiteness is allied to notions of ‘hegemonic masculinity’ 37<br />

through <strong>the</strong> <strong>male</strong> occupying a conventional or stereotypical gender role (such as <strong>the</strong> soldier),<br />

<strong>the</strong>n <strong>the</strong> American in excelsis is born. Whiteness <strong>and</strong> hegemonic masculinity produce a<br />

normative US national identity, <strong>and</strong> when allied to <strong>the</strong> spectacle of pain <strong>and</strong> suffering, an<br />

au<strong>the</strong>ntic <strong>and</strong> desirable subjectivity of <strong>damaged</strong> American white masculinity emerges.<br />

35 The synecdochal nature of <strong>the</strong> white straight <strong>male</strong> in US national identity has been explored by David Savran,<br />

Taking It Like A Man: White Masculinity, Masochism, <strong>and</strong> Contemporary American Culture (Princeton:<br />

Princeton University Press, 1998); Liam Kennedy, Race <strong>and</strong> Urban Space in Contemporary American Culture<br />

(Edinburgh: Edinburgh University Press, 2000); <strong>and</strong> Sally Robinson, Marked Men: White Masculinity in Crisis<br />

(New York: Columbia University Press, 2000).<br />

36<br />

Thomas Nakayama <strong>and</strong> Robert Krizek, ‘Whiteness: A strategic rhetoric’ Quarterly Journal of Speech. 81<br />

(1995), 301<br />

37 R. W. Connell, Masculinities (Cambridge: Polity Press, 2005)<br />

14

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