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dc.contributor.authorGirelli, Elisabetta
dc.date.accessioned2021-02-08T00:37:32Z
dc.date.available2021-02-08T00:37:32Z
dc.date.issued2019
dc.identifier.citationGirelli , E 2019 , ' The male body as vacillation : disability, gender, and discourse in The Men ' , Screen Bodies , vol. 3 , no. 1 , pp. 87-97 . https://doi.org/10.3167/screen.2018.030106en
dc.identifier.issn2374-7552
dc.identifier.otherPURE: 252945741
dc.identifier.otherPURE UUID: 4e0f2509-e885-4c67-b5cf-e1389d9fb021
dc.identifier.urihttp://hdl.handle.net/10023/21385
dc.description.abstractThis article considers the representation of gendered disability in The Men (Fred Zinnemann, 1950), Marlon Brando’s first film. A groundbreaking yet deeply ambiguous text, the film explores notions of normative and non-normative physicality through the lens of masculinity, sexuality, and their implications for human status. In the light of key works by disability scholars, and of Judith Butler’s discussion of the cultural construction of the body, this article examines the multiple and subversive meanings made available by the film, and the extent to which The Men allows for a different bodily identity based on dissent.
dc.format.extent17
dc.language.isoeng
dc.relation.ispartofScreen Bodiesen
dc.rights© 2019 Publisher / the Author. This work has been made available online in accordance with the publisher’s policies. This is the author created accepted version manuscript following peer review and as such may differ slightly from the final published version. The final published version of this work is available at https://doi.org/10.3167/screen.2018.030106en
dc.subjectBodyen
dc.subjectDisabilityen
dc.subjectJudith Butleren
dc.subjectMarlon Brandoen
dc.subjectMasculinityen
dc.subjectRepresentationsen
dc.subjectSexualityen
dc.subjectPN1993 Motion Picturesen
dc.subjectT-NDASen
dc.subjectBDCen
dc.subjectR2Cen
dc.subject.lccPN1993en
dc.titleThe male body as vacillation : disability, gender, and discourse in The Menen
dc.typeJournal articleen
dc.description.versionPostprinten
dc.contributor.institutionUniversity of St Andrews. Film Studiesen
dc.identifier.doihttps://doi.org/10.3167/screen.2018.030106
dc.description.statusPeer revieweden
dc.date.embargoedUntil2021-02-08


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