Susan Mackey-Kallis is professor in the Department of Communication at Villanova University.Brian Johnston is assistant professor of communication in the Department of Language and Literature at Glenville State University.

Offering vivid critique throughout the volume, Susan Mackey-Kallis and Brian Johnston acutely analyze how gender, race, and class intersect to create complex identities via narrative film. Sophisticated theory and savvy use of current events allows the authors to offer both rich insights into the films analyzed—films that range from Marvel movies to art house classics—as well as ideas about how viewers might respond to those films individually and culturally. The authors’ engaging style and thoughtful analysis of each film made me want to jump immediately to the next chapter.

• ContentsIntroduction: Wounding and Healing: The Search for Self in American Film and CultureSection 1: The Tragic Frame: Suffering, Scapegoating, Mortification, Masculine (White) Fragility, and the Lack/Loss of the Feeling FunctionSection 1: PrefaceChapter 1: There Will Be Blood: “Give Me the Blood”Chapter 2: Million Dollar Baby: “Hits Too Close to the Bone” Chapter 3: Moonlight: “Who Is You, Man?” Section 2: The Comic Frame: Suffering, Scapegoating, Mortification, and the Search for the FeminineSection 2: PrefaceChapter 4: Guardians of the Galaxy: “We Are Groot”Chapter 5: Iron Man:“I Am Iron Man”Chapter 6: The Darjeeling Limited: “We Haven’t Located Us Yet”Section 3: The Mystic Frame: Reflexivity, Transcendence, Restoration of the Feminine and the Flowering of CompassionSection 3: PrefaceChapter 7: Ad Astra: “We’re All We’ve Got”Chapter 8: Big Fish: “To Catch an Uncatchable Fish”Chapter 9: The Fountain: “Dying as an Act of Creation”Conclusion: Final Thoughts: “Thou Art That”BibliographyAbout the Authors

Susan Mackey-Kallis is professor in the Department of Communication at Villanova University.Brian Johnston is assistant professor of communication in the Department of Language and Literature at Glenville State University.

Offering vivid critique throughout the volume, Susan Mackey-Kallis and Brian Johnston acutely analyze how gender, race, and class intersect to create complex identities via narrative film. Sophisticated theory and savvy use of current events allows the authors to offer both rich insights into the films analyzed—films that range from Marvel movies to art house classics—as well as ideas about how viewers might respond to those films individually and culturally. The authors’ engaging style and thoughtful analysis of each film made me want to jump immediately to the next chapter.

• ContentsIntroduction: Wounding and Healing: The Search for Self in American Film and CultureSection 1: The Tragic Frame: Suffering, Scapegoating, Mortification, Masculine (White) Fragility, and the Lack/Loss of the Feeling FunctionSection 1: PrefaceChapter 1: There Will Be Blood: “Give Me the Blood”Chapter 2: Million Dollar Baby: “Hits Too Close to the Bone” Chapter 3: Moonlight: “Who Is You, Man?” Section 2: The Comic Frame: Suffering, Scapegoating, Mortification, and the Search for the FeminineSection 2: PrefaceChapter 4: Guardians of the Galaxy: “We Are Groot”Chapter 5: Iron Man:“I Am Iron Man”Chapter 6: The Darjeeling Limited: “We Haven’t Located Us Yet”Section 3: The Mystic Frame: Reflexivity, Transcendence, Restoration of the Feminine and the Flowering of CompassionSection 3: PrefaceChapter 7: Ad Astra: “We’re All We’ve Got”Chapter 8: Big Fish: “To Catch an Uncatchable Fish”Chapter 9: The Fountain: “Dying as an Act of Creation”Conclusion: Final Thoughts: “Thou Art That”BibliographyAbout the Authors

Susan Mackey-Kallis is professor in the Department of Communication at Villanova University.Brian Johnston is assistant professor of communication in the Department of Language and Literature at Glenville State University.

Offering vivid critique throughout the volume, Susan Mackey-Kallis and Brian Johnston acutely analyze how gender, race, and class intersect to create complex identities via narrative film. Sophisticated theory and savvy use of current events allows the authors to offer both rich insights into the films analyzed—films that range from Marvel movies to art house classics—as well as ideas about how viewers might respond to those films individually and culturally. The authors’ engaging style and thoughtful analysis of each film made me want to jump immediately to the next chapter.

• ContentsIntroduction: Wounding and Healing: The Search for Self in American Film and CultureSection 1: The Tragic Frame: Suffering, Scapegoating, Mortification, Masculine (White) Fragility, and the Lack/Loss of the Feeling FunctionSection 1: PrefaceChapter 1: There Will Be Blood: “Give Me the Blood”Chapter 2: Million Dollar Baby: “Hits Too Close to the Bone” Chapter 3: Moonlight: “Who Is You, Man?” Section 2: The Comic Frame: Suffering, Scapegoating, Mortification, and the Search for the FeminineSection 2: PrefaceChapter 4: Guardians of the Galaxy: “We Are Groot”Chapter 5: Iron Man:“I Am Iron Man”Chapter 6: The Darjeeling Limited: “We Haven’t Located Us Yet”Section 3: The Mystic Frame: Reflexivity, Transcendence, Restoration of the Feminine and the Flowering of CompassionSection 3: PrefaceChapter 7: Ad Astra: “We’re All We’ve Got”Chapter 8: Big Fish: “To Catch an Uncatchable Fish”Chapter 9: The Fountain: “Dying as an Act of Creation”Conclusion: Final Thoughts: “Thou Art That”BibliographyAbout the Authors